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Sonate en forme des études de fantaisie pour trombone et piano

Clássico/Sonata • 2017
 
     
 

Sonate en forme des études de fantaisie pour trombone et piano


Grátis

autor Clive Strutt
PDF, 6.93 Mb ID: SM-000340920 data do carregamento: 13 set 2018
Instrumentação
Piano, Trombone tenor
Composição para
Solo, Piano de Acompanhamento
Tipo de composição
Score for two performers
movimento(s)
1 para 6 de 6
Editora
Clive Strutt
dificuldade
Difficult
After completing the “Opus Alchymicum” for oboe and piano, which was a 21st century development of a single movement (The “Rondo”) written during student days in the 1960s, I decided to try the same technique with the one-movement Sonata for Trombone and Piano originally written in 1965 in Exeter whilst a student on a one-year education course at St. Luke’s College. As with the oboe work, the early single movement is placed last, as a finale, and provides germinal material for use in the previous movements.
However, the “Sonate en forme des etudes de fantaisie” has adopted a technique of “borrowings” from other composers (the French word “Emprunts” has been used for this, and French influences have permeated much of the rest of the work.)
`There are three “Emprunts”: from Dussek, Satie, and Godowsky (see the Contents page for details). They are all from musical works for solo piano, so in the context of this trombone sonata are all transcriptions, but quite freely so when it seemed appropriate. The Dussek piece I found in an old book of voluntaries for harmonium for church use: it was a two-part canon in the minor 7th, but I found it also worked quite well as a three-part canon (also in the minor 7th). The Satie “borrowing” is from his extraordinary piece “Vexations”, touted in the Guiness Book of Records as the longest piano solo ever written! However, this reputation is somewhat misleading, the 24-hour long piece just consists of one page of music repeated 840 times! I actually attended a performance of this in the late 1960s (staying, though, only for three hours!) However, in the late 1970s I made use of the piece as a fund-raisning stunt for a local Orkney organisation called Campaign Against Dounreay Expansion (C.A.D.E.), and I contacted a considerable number of musicians (mainly composers) for contributions, and managed to raise over £600. The performance was in Stromness, and we had the services of about fifteen or so pianists. There was a prolonged enquiry about the intended expansion of the nuclear facility at Dounreay, and the enquiry concluded that the expansion could go ahead. However, a changing economic scene meant in the end that it never happened.
The third “Emprunt” is a complete movement from Godowsky’s only piano sonata, the lament. Godowsky himself was as singular a musical figure as both Satie and Dussek, and is mainly known for his highly complex virtuosic transcriptions of Chopin’s Etudes.
The remaining movements of the Trombone Sonata are variations on the earlier themes. Some of the titling ideas have been borrowed from the world of painting and rhetoric, with plenty of Gallic fantasy besides, with a brief excursion into the Low Countries.
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