NEW, FORGOTTEN, AND RARELY PERFORMED WORKS FOR BASS TROMBONE AND TROMBONE ENSEMBLE OR WOODWIND QUINTET

Abstract

The bass trombone has seen a veritable explosion of solo repertoire since the 1960s, but not all this music has been accepted into the known repertoire. Like any living repertoire, pieces fall out of favor or simply fail to gain popularity. This dissertation seeks to bring attention to and aims start the process of integration (for new repertoire) and reintegration (for old) solos with chamber winds, specifically trombone ensembles and woodwind quintet. A new composition from Adrian B. Sims and works by John Frith, Charlie Small, Williams Schmidt, Manny Albam and Hidas Frigyes were recorded. Two known works (Frith and Hidas) were included as a vehicle to interest listeners in the album and to invite a soft comparison to show the quality of the other works and stir interest in programming them. Three topics are discussed for each work: composer biographical information, program notes including structural and harmonic analytical information when appropriate, and suggestions to future performers. Adrian B. Sims’ The Sword of Orion is examined in detail as it is the composer’s first work for solo bass trombone, and he is unknown to the wider trombone community. Insight is given on the compositional process and the composer’s thoughts and interpretation of the work as the author worked with him to commission and record the work. Exploration of musical character is given prominence to aid future performers in attaining the right style and characteristics for each section, and analysis is done to understand the harmonic and thematic development style of the work. There are many pieces written for bass trombone and chamber winds, with the trombone ensemble being the most popular and well known. However, the woodwind quintet is just as satisfying an ensemble to pair with the bass trombone, and there are other solos out there with this ensemble setting that have yet to gain traction or be recorded. It is also arguably a more versatile ensemble. It is the hope of the author that solos will continue to be written with woodwind quintet as it offers opportunities for blend and character that do not exist when performing with trombone ensembles.