Trombone Ensemble Essay, Research Paper SWT Trombone Ensemble On the evening of November 11,1999, the Southwest Texas Trombone Ensemble provided an apprehensive crowd with a truly wonderful performance. Starting with Sonata No.1 for Trombone Choir by Evan Copley, the ensemble exhibited fabulous variety in both the note and the speed in which they were playing.
Trombone Ensemble Essay, Research Paper
SWT Trombone Ensemble On the evening of November 11,1999, the Southwest Texas Trombone Ensemble provided an apprehensive crowd with a truly wonderful performance. Starting with Sonata No.1 for Trombone Choir by Evan Copley, the ensemble exhibited fabulous variety in both the note and the speed in which they were playing. This skill mindfully produced a range of emotions, including anxiety and uneasiness. Charles R. Hurt, the conductor of the ensemble, skillfully piloted the ensemble in formulating an eerie feeling. I envisioned a cemetery scene with the light fog, worn tombstones, and mourners draped in black. The mood changed for the better with the arrival of the allegro, bringing with it a sound of a climax which flutters ones emotions. Sonata No.1 concludes climaxing one final time with a abrupt, powerful end. A highly emotional piece by Kazimierz Serocki titled Suita na 4 Puzony flowed placidly interrupted every so often by sounds of concern, as if someone were about to be attacked by suprise. All the feelings produced in the intrada are subdued by the depressing, dark, cold canone. It?s a slow melody of sadness but a sadness of extreme measure. A low pitch adds to the aura of mortality. These two particular feelings, anxiety and gloom, are toyed with throughout. During the arietta, a splendid job was done in building up the final Toccatina. There seemed to be a competition of sorts between the ensemble with sounds coming from each horn individually and sporadically. This effect created quite a frantic and raving atmosphere. To conclude the piece, the ensemble triumphantly came into unison, exploding with sounds of victory for the audience to discuss with one another during intermission. Following the intermission, the terrific trio of Joel Davidson, Joe Kramer, and Mike Lawson performed David Potter?s Aria & Rondo. This piece commences with Mr. Kramer and Mr. Lawson playing a slow but peaceful melody soon to be joined by Mr. Davidson a few seconds later. There is then a series of progressive climatic surges, repeating three or four times. I was personally overcome with a picture of someone attempting to hide from a foe, with sounds of approaching footsteps. The piece ends sharply with two forceful notes. In Arthur Frackenpohl?s Trombone Quartet, the audience was treated as Mr. Charles Hurt stepped aside for the showcase of an aspiring student conductor, Mr. Joel Davidson. The combination of a falling sound accompanied by one of fright brings forth frenetic pictures, such as a disturbed ant hill. The Trombone Quartet finishes by convincingly including the wide range of emotional tones within the piece. The final two performances, Satin Doll by Duke Ellington and Super Bones by Jack Gale, livened the aura of the auditorium and filled the air with sounds of blues and jazz both. Greg Wilson masterfully wailed out each note to its fullest, showcasing the unique and much admired sound of the saxophone. Mr. Charles Hurt was absolutely correct in complimenting the superior skill of Mr. Wilson before his performance. Gale?s Super Bones was similar to Satin Doll except for the ensemble was more prominent in the Gale piece. After being taken on a rollercoaster of emotions through most of the performance, ending it with an upbeat and vibrant style of music was truly a treat. I found myself helpless in tapping hand and foot to the steady sound of the rim shot and high hat. To me, the slow and depressing nature of the earlier pieces mixed with random build ups and climaxes seems to be smoothed over and over taken by the gleeful jazz beats. I must say, to my own suprise, I really enjoyed my evening.
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