The Trombonist Winter 2010

Winter 2010

www.britishtrombonesociety.org

Contacts British Trombone Society www.britishtrombonesociety.org Honorary Patron: Gordon Campbell Executive Board President Brett Baker 01606 783869 president@britishtrombonesociety.org Vice-President Carol Jarvis chair@britishtrombonesociety.org Chair Ben Bouzan eastanglia@britishtrombonesociety.org Secretary Geoff Wolmark 01377 202209, 1-3 Church Street, Hutton, Driffield, Yorks, YO25 9PR secretary@britishtrombonesociety.org Treasurer David Carnac treasurer@britishtrombonesociety.org Education Liaison Stewart Drummond education@britishtrombonesociety.org Staff Membership Manager Lisa Penn 0844 4457931 membership@britishtrombonesociety.org Webmaster Edward Solomon 07903 152148 webmaster@britishtrombonesociety.org Associate Webmaster Mike Saville webmaster2@britishtrombonesociety.org The Trombonist Editor Stephanie Dyer 07905 188052 editor@britishtrombonesociety.org Publishing and Distribution British Bandsman Advertising Gregan Quick 01933 445474 advert@britishbandsman.com Design and DTP GK Graphic Design The Trombonist is published quarterly.

Please send any material for review to the editor.

Representatives Scotland Chris Stearn 01360 860220 scotland@britishtrombonesociety.org Wales Arlene MacFarlane 07773 290975 wales@britishtrombonesociety.org North East & Yorkshire Paul Woodward 01924

NEWS

BTS Open Day in Salford 30 January 2011 Peel Hall, Peel Building, Peel Park Campus, University of Salford, Crescent, Salford, M5 4WT 09:30 Welcome and Registration of Attendees and visit to trade stands.

Please make it known if you wish to be considered for an opportunity to perform in the pre-evening concert as part of a solo / duet / trio / quartet etc. or if you wish to take part in the solo masterclasses. A piano accompanist will be provided during the day and for the evening performances.

10:00 Warm-up and Trombone Choir rehearsal with Brett Baker (Main Hall).

10:30 Masterclass with Brett Baker (Main Hall).

11.15 Break 11.30 Excerpts masterclass with A bit on the Slide (Main Hall).

12:00 Trombone Choir rehearsal with Brett Baker (for evening concert - Main Hall).

12:30 Opportunity for members to rehearse quartets / solos etc. (Main Hall and Small Rooms).

1:00 – 2:00 Lunch and visit to trade stands can be taken either at the

Music Service (bring your own) or sourced nearby (MacDonalds).

2:00 Guest Artist recital: Simon Minshall, Midlands Trombone Quartet, Thames Trombone Quartet, Stephen Sykes (BBC Radio 2 Young Brass soloist 2009).

3:00 Opportunity for quartets to rehearse (Room 8).

4:00 Choir rehearsal with Brett Baker, for evening concert (Main Hall).

4:30 Salford University students’ recital - Becky Maglone and Stephanie Samuel.

5:00 Pre-concert performance of solos / duets / quartets, as selected from the Open Day practises.

5:30-6:30 Trade stands - refreshments can be taken either at the Music Service or nearby hostelries. ************************** 6:00 Evening Concert (£6.00 entrance – all require tickets except performers) Fenella Howarth-Smith Piano Accompanist.

Carol Jarvis, Brett Baker, Black Dyke Band Trombone Quartet, Students of Salford University, A Bit of the Slide, Simon Minshall (bass trombone - Ex. Foden’s Band), Thames Trombone Quartet, Stephen Sykes, The BTS Trombone Choir.

The day’s program is subject to change without notice.

823840 northeast@britishtrombonesociety.org North West Gareth Westwood 07756 105524 northwest@britishtrombonesociety.org

Please help the organisers by pre-registering your attendance by emailing Brett Baker at president@britishtrombonesociety.org

Midlands Ben Henderson Northern Ireland Stephen Cairns 02892 602646 northernireland@britishtrombonesociety.org South Chris Mackey 07758 451146 south@britishtrombonesociety.org South West Tony Evans 01752 263069 southwest@britishtrombonesociety.org East Anglia Ben Bouzan 07970 502509 eastanglia@britishtrombonesociety.org Wessex Bruce Harding 01202 880814 wessex@britishtrombonesociety.org Brass Band Paul Woodward 01924 823840 brassband@britishtrombonesociety.org Jazz Jeremy Price jazz@britishtrombonesociety.org Young People James Howard youngrep@britishtrombonesociety.org

Don’t forget to bring your trombone and join the BTS Trombone Choir!

Admission to Open Day: Free for BTS Members. £10.00 For Non-Members (It makes economic sense to visit the BTS website and join before attending the Open Day!).

Prague Competition 2011 Trombonists up to the age of 30 who are looking to make their name internationally may wish to enter a well-known competition, such as next year’s Prague Spring. Jury members include Heinz Fadle, Gustav Höna, Robert Kozánek, Gabriel Madas, Jean Raffard, Jörgen van Rijen and Jiří Sušický. The top prize is approximately £7,000.

The International Music Competition Prague Spring is a member of the World Federation of International Music Competitions and will be held for pianists and trombonists in May 2011. Information about the competition, including required repertoire, an application form and details of prizes are at the official web pages at www.prague-spring.net/competition.

The Trombonist | Winter 2010 | 3

NEWS

Message from Bob Hughes Driving home from our BTS day in Oundle on a grey autumnal evening, I found myself reflecting on my four years as BTS President and how the trombone world consists of some extraordinary people of all ages.

When I arrived home, I read an email from a mother telling me that her nine year-old son was so enthused by the events in Oundle that, even after a long journey home, he insisted on practising for 45 minutes! If the BTS can inspire young people in this way, then we have done a big part of our job.

In July, the trombone world lost one of its greatest performers and teachers, as well as a true gentleman Arthur Wilson. Through The Trombonist magazine and the BTS website, we were able to pay tribute to this remarkable man. I shall never forget the glorious sound of 52 of Arthur’s ex-students performing Bruckner’s Locus Iste at his tribute concert at the Henry Wood Hall in London.

Someone remarked that he felt that Arthur was in the room with us. Arthur will be greatly missed.

BTS is an organisation incorporating players of all ages, styles and abilities. Over the years, countless professional and other talented players have given their time and services to BTS, free of charge, so that less experienced trombonists can be inspired and learn from their skill and musicianship. A big thank you to all. The more members and hence greater subscription levels the BTS can attract the more we can provide for members in the way of events, publications, commissions and competitions - all this for less than seven pence a day! Please encourage your friends and colleagues to join. How many times does a single BTS member pass his of her copy of The Trombonist around the whole trombone section?

The BTS Executive Board is a team of highly enthusiastic people who regularly give up their Saturday mornings for telephone meetings. They also travel the length and breadth of the UK supporting local reps at events, again for no financial reward. Thanks to them for their dedication and hard work.

We welcome Carol Jarvis to the BTS team as Vice President.

Brett Baker has taken over the role of President from me from 3 October. Brett is an outstanding performer who seems to possess endless energy and ideas. I have no doubt that the BTS can look forward to an exciting and actionpacked future under his leadership.

Bob Hughes BTS President, 2006-10

4 | Winter 2010 | The Trombonist

NEWS

President’s address

Dear Members,

It has been a thrill seeing so many of you at the various events that have taken place up and down the country in 2010. There has been a renewed enthusiasm for the British Trombone Society that I am keen to exploit further into 2011. Stepping into the shoes of someone as eminent as Bob Hughes is no easy task and I wanted to spend a few moments just highlighting what excellent work has been achieved during his time as President of the Society.

Bob became President in 2006, taking over from Roger Argente, and this was in the wake of an excellent few days of music making in Birmingham where the UK hosted the International Trombone Association Festival at Birmingham Conservatoire of Music and Symphony Hall. The Society has around 1,000 members in total and we had around 600 trombone enthusiasts from around the world attend the event over three days.

2005 and 2006 were years of great change within the BTS in that we gave the Executive more responsibility for running the society after our Executive Director, Chris Fower, had to step down from his post. Chris was instrumental in reorganising many aspects of the society and putting on some excellent events at the Royal Welsh College of Music and Drama (RWCMD) in Cardiff, though he will be most remembered for reorganising the BTS administration and having an active role in the launch our new, website which has been expertly maintained, monitored and designed by Ed Solomon. Ed has been the backbone of the society and he will be taking on much of our future rebranding. His web expertise will be vital in moving us through the next decade when we look towards a website redesign in 2011.

2006 to 2008 also sadly led to much change in the form of personnel from the Executive. Matt Parry stepped down as Treasurer and had been the driving force of the Executive at that time along with Secretary, Geoff Wolmark.

Conversely, we saw the introduction of myself, David Carnac and Stewart Drummond onto the Executive and the appointment of David Read as Editor of The Trombonist. In a very short space of time, he transformed what is for many the first point of contact on what is happening in the trombone world.

The other big change has been a replacement and overhaul of the back office and content management of the BTS website, and we have been delighted to see Lisa Penn take over not just some of the web development work, but also take on the position of Membership Manager and bookkeeper for the society, taking over from Derrick Parker. We have ensured that we keep Derrick busy in that he has now, with help from Ben Bouzan, collated and catalogued everything in the BTS music library so that these pieces can be requested for workshop days free of charge to reps. I would like to thank Derrick for all the work he has done as Membership Manager, as subscriptions have been our only source of income.

During the past four years, we have seen a massive increase in BTS events, which have been a valuable addition to the excellent regular workshop days that have occurred every year in Belfast (organised by Stephen Cairns), Glasgow (organised by Chris Stern) and Oundle (organised by Ben Bouzan), where our AGM takes place. One-off events have taken place in Northamptonshire, Leicester Grammar School, Coventry, Rugby, Castleford, Bromley, Rochdale, Wells Cathedral School, Bristol, Bath, Bradford-upon-Avon, Leeds Education Service, Leeds Town Hall, the RNCM, Salford University, Durham University, Beverley and Shipley. There have also been regular events at Birmingham Conservatoire, the RWCMD and the Royal Academy of Music in London, which have been important in reaching out to the future trombone players in the profession.

During my time as Chairman of the BTS, I have therefore seen the number of events double from around five per year to 10 or 11, with an emphasis not only on orchestral playing and teaching but also broadening our appeal to trombonists in also the jazz field and within brass bands. I must also thank Shelia Tracey for her support and marketing of the BTS at the National Brass Band Championships at the Royal Albert Hall and our presence at the Wigan and Coventry jazz festivals.

As President, Bob Hughes provided the drive and stability for all this to happen. He was, of course, ably assisted by the regional reps, the BTS Executive and heads of brass at the

various conservatories, and without the assistance of Kevin Price at the RWCMD and David Purser at Birmingham Conservatoire, these larger events would not be possible.

I joined the BTS when Mark Nightingale was President many years ago and I share his enthusiasm for change. Among the things I aim to achieve during my tenure as President of the Society are: 1) A rebranding exercise: One of the important things over the next few months will be to rebrand the BTS so that the magazine, stationery and website all follow the same theme and have consistency. Ed Solomon does a sterling job of maintaining and improving our website and, with his guidance, we will aim to provide consistency in this area and offer our partners, as well as advertising space in the magazine, also advertising space on the website and at BTS events.

2) More events: Although we have doubled the events taking place in the last three years and increased the size of the magazine, I believe that as well as the ten regional events, we will be able to run four events at the conservatoires up and down the country and hold events on the back of other festivals.

I am keen to see 15 events take place per year and to assist every regional rep to allow them to put on an event each year.

3) A recording of trombone choir music.

One of the aims of the BTS has been to encourage regional trombone choirs, so I would like to organise a recording of popular trombone ensembles to distribute among the membership.

4) To hold a National Trombone Week: My aim is to hold a workshop weekend in Cardiff and Birmingham or London, where we have two full weekends of workshops and concerts, and invite guests from overseas to take part. This will hopefully be in 2012 and I will need membership assistance to achieve this.

Feel free to contact me or the Executive if you have comments on how we can improve the BTS. I will take on board all comments and suggestions, but please appreciate I will not want to change anything that is not broken. I wish you all a successful and happy 2011.

The Trombonist | Winter 2010 | 5

When I Walk Alone (Lito Fontana)

Heaven and Earth (Herb Bruce)

Summon the Rhythm (Brett Baker)

CD 21552 £13.95 The debut CD from the Principal Trombone of Brass Band Oberösterreich and one of the finest trombonists on the European scene today.

CD 24761 £13.95 “Herb Bruce is a musician so gifted, it’s impossible to classify his playing. He can soar, he can roar, he can be sweet and sensitive, or he can raise the hairs on your arms with his robust intensity and vibrant sound.” AppleJazz Records

CD 21478 £13.95 The latest recording from one of the most recorded trombonists ever, contains a mix of new compositions and older arrangements for trombone and brass band.

Mandrake in the Corner (Håkan Björkman)

Gung-Ho (David Bremner)

Pryor Engagement (Ian Bousfield)

CD 25035 £13.95 The Principal Trombone of the Royal Swedish Opera Orchestra and the Chamber Orchestra of Europe is accompanied by Stockholm Brass Band in this recording of absolute trombone virtuosity and musicality!

CD 21439 £13.95 This recording from the Principal Trombone of the New Zealand Symphony Orchestra was named Vodafone New Zealand Best Classical Album 2009.

CD 24776 £13.95 An outstanding recording by the Principal Trombone of the Vienna Philharmonic Orchestra playing solos synonymous with Sousa’s trombone soloist, Arthur Pryor.

Houlding His Own (Chris Houlding)

Vademecum (Geert De Vos)

Never Alone (Ben van Dijk)

CD 24960 £13.95 Chris Houlding was appointed Principal Trombone of the Orchestra of Opera North when just 21 years old. His solo CD features standard repertoire by Hindemith and Sulek along with less familiar repertoire for trombone alone and with piano.

CD 21381 £13.95 The Principal Bass Trombone of Belgian National Opera and Belgian Brass gives first recordings of the brass band versions of concertos by Derek Bourgeois and Paul Sarcich along with premiere recordings of concertos by Flemish composers Johan Evenepoel and Wim Bex.

CD 21468 £14.95 An internationally acclaimed bass trombonist and educator, Ben van Dijk has sought the ultimate diversity in musical styles and instrumentation for this recording which consists of seven brand new compositions all especially written for him.

WORLD OF BRASS THE HOME OF BRASS SOUND www.worldofbrass.com Telephone order line: +44 (0)1933 445 445

All CD/DVD orders for UK [including N.I.] delivery, irrespective of quantity, are subject to a carriage charge of £2.95.

All other UK deliveries will incur a carriage charge of £4.95 irrespective of size.

NEWS

Bones Apart in the South Popular trombone quartet, Bones Apart, released three more dates for public appearances in London, Somerset and Southampton this winter:

7.30pm, Tuesday 7 December Guards Chapel, London Guest artists with the Band of the Welsh Guards – concert in aid of Macmillan Cancer Support.

7.30pm, Thursday 27 January King’s Theatre, Cheddar, Somerset Afternoon workshop and evening recital.

7.30pm, Saturday 29 January Trombone Festival, Southampton Day of workshops and guest artists in evening gala concert.

For further information please visit www.bonesapart.webs.com.

Gloucester Trombone Day

BRASSED UP! Tour Dates Announced

Gloucestershire Music and the Gloucestershire Brass Band Association are proud to present three of the great names in today’s brass band world. Tredegar Band – the current British Open champion – will join forces with Gloucestershire Youth Brass Band – 2009 National Intermediate Youth Champion – for a celebration of brass music. Brett Baker will lead trombone masterclasses and a massed blow for trombonists of all ages before performing as guest soloist in a day celebrating brass music this January.

Multi-instrumentalist, James Stretton, and pianist, Iain Jackson, will be performing their ‘BRASSED UP!’ concerts on tour in Northern England next year.

Their varied programme includes all members of the brass family and a diverse mix of styles, from well-loved brass gems such as Carnival of Venice to more obscure items – including the overture to The Barber of Seville, performed across 13 brass instruments by one short man accompanied by his Brummie pianist.

A Celebration of Brass Sunday 16 January 2011 Forest Theatre Royal Forest of Dean College Five Acres Coleford Gloucestershire GL16 7JT 11:00–14:00

11:00–14:00

Trombone masterclass and massed blow with Brett Baker (supported by the BTS) – open to trombonists of all ages and abilities.

Conducting masterclass with Ian Porthouse – open to conductors and musical directors.

16:00 Concert featuring Tredegar Brass Band, Gloucestershire Youth Brass Band and Brett Baker.

To book your place for either masterclass, please email steve.legge@gloucestershire.gov.uk.

Concert tickets priced £10.00 (£7.00 for over 60s and under 18s). Tickets available on the door (doors open at 15:15) or may be reserved by contacting Sharon Stratford by e-mail at sstratford@aol.com or telephone 01594 564 920.

Friday 11 February People’s Hall Sedbergh, Cumbria Tel: 015396 20125 Wednesday 16 February Soulby Village Hall, Cumbria Tel: 017683 71396 Thursday 17 February Ireshopeburn Literary Institute, Durham Tel: 01388 537229 Friday 18 February Heads Nook Village Hall, Cumbria Tel: 01228 561147 Saturday 19 February Rennington Village Hall, Northumberland

Tel: 01665 577535 Sunday 20 February Mungrisdale Village Hall, Cumbria Tel: 017687 79397

BBC Hindemith Showcase The BBC Symphony Orchestra brought the brass into the spotlight on Friday 5 November at the Barbican Hall, in the rarely heard but grand masterpiece by Paul Hindemith, Concert Music for Strings and Brass. Conducted by Yan Pascal Tortelier, the programme also included Debussy’s Fantaisie for piano and orchestra with soloist, Jean-Efflam Bavouzet, Ravel’s Pavane pour une infante défunte and Mussorgsky’s Pictures at an Exhibition (orch. Ravel). Details of forthcoming BBCSO concerts are published online at www.bbc. co.uk/orchestras/symphonyorchestra/events/.

The Trombonist | Winter 2010 | 7

NEWS

Hampshire Music Service Stages a Sparkling Slideshow Hampshire County Council’s Music Service, in collaboration with the Southampton and West Sussex Music Services, is hosting a weekend trombone extravaganza at Ferneham Hall, Fareham, on Saturday 29 and Sunday 30 January 2011. The weekend brings world-renowned performers, Bones Apart, Mark Nightingale and Oompah Brass, together with music service trombonists, in a combination of daytime student workshops, masterclasses and evening performances open to all.

The young trombone players have been invited to attend by their teachers and ensemble directors, and have been selected from areas across Hampshire, Southampton and West Sussex.

Saturday starts with a massed blow for all student trombonists, followed by workshops, performances and masterclasses with the guest practitioners. The public evening performance features Bones Apart, Oompah Brass and the Southampton Youth Brass Band.

Sunday morning continues with a massed trombone choir rehearsal. After lunch, the public afternoon gala concert features solo slots from Mark Nightingale, backed by the Hampshire County Youth Band. In the grand finale, the young musicians will perform 76 Trombones and other numbers with the Hampshire County Youth Band – approximately 120 trombonists and other brass players!

Bones Apart is an all-female trombone quartet that has recently celebrated its tenth anniversary. Regularly performing throughout the world, it is committed to expanding the boundaries of brass chamber music by commissioning works and new arrangements.

Mark Nightingale is an internationally acclaimed jazz trombonist, who has played with John Dankworth, Cleo Laine, Slide Hampton and Jiggs Whigham, amongst others. He also plays trombone on Sting’s album, Ten Summoner’s Tales.

Oompah Brass is the leading exponent of ‘Oompop’ and plays Bavarian arrangements of modern pop songs. Known as full-blown ‘legends in Lederhosen’, the band has toured throughout Europe.

Tickets are available from Ferneham Hall box office online (www.fernehamhall.co.uk) or over the phone (01329 231 942), priced £3 per day (£2 per concert for BTS members) or £5 for both days. To find out more please contact the Hampshire Music Service by calling 023 8065 2037 (leave a message for Jon Cranston) or by e-mailing music.service@hants.gov. uk (ref. Jon Cranston). To find out more about the wide range of opportunities made available by the Hampshire Music Service, please visit www.hants.gov.uk/hms.

8 | Winter 2010 | The Trombonist

Nils Landgren in Birmingham with the BBC Big Band Swedish trombonist and singer, Nils Landgren, along with his Funk Unit ensemble joined forces with the BBC Big Band for the very first time on Friday 19 November, to perform music from his latest album, Funk for Life, in all new versions for big band, created by conductor Jörg Keller. This concert at the Town Hall was their only UK gig.

Nils was born in 1956 and began playing drums at the age of six. Aged 13, he laid his hands on his first trombone, and there began a lifelong journey of discovery and musical collaborations. Landgren has worked with a range of artists, including the late pianist Esbjörn Svensson and his Trio (E.S.T.), Thad Jones, The Crusaders, Eddie Harris, Bernard ‘Pretty’ Purdie, Herbie Hancock and even pop sensation Abba! In May 2002, Nils was honoured with the Tore Ehrling Prize by the Swedish Society of Popular Composers for his ‘contribution to spreading Swedish jazz music around the globe’.

Secret Life of the Trombone Emily White is to give a concert with John Kenny and Miguel Tantos, entitled The Secret Life of the Trombone. The event will take place at 6.00pm on 22 January 2011 in St Martin’s Church, Frog Lane, North Nibley, GL11 6DL (take Junction 14 on the M5).

The performers will play Spanish sackbut duets and trios, modern trombone trios, solo Sonatas

by John Kenny and a trio for voice, bicycle wheel and trombone!

Tickets are £8.00 (free to under 16s), which includes a glass of mulled wine, available at the door. Telephone 07961068687 for information on how to get there.

Steel City Bones LIVE Led by Sheffield-born trombonist, Lee Hallam, five of Britain’s top big band and swing trombonists got together on Wednesday 6 October to perform at the Lescar Hotel in Sheffield and on Friday 26 November to perform at the Northern Jazz Centre in Doncaster, South Yorkshire. Amazing musical arrangements and big playing talent made for great shows – a particular favourite for fans of the big band sound.

Lee Hallam, Stuart Garside, Danny Hammerton and Brian Archer – trombones Dave Pearce – bass trombone Andy Dressler – piano / keyboards Jamey Taylor – guitar Paul Baxter – bass Ian West – drums Keep your eyes and ears open for future Steel City Bones gigs!

NEWS

Buddy Morrow Trombonist and bandleader, Buddy Morrow, passed away on Monday 27 September. He will be sorely missed. Steve Voce remembers him in an obituary published Thursday 30 September in The Independent. Chris Dean, trombonist and bandleader of the Syd Lawrence Orchestra, writes the following tribute: Buddy Morrow was a truly great trombone player.

He died aged 91 after a career spanning more than 70 years.

Morrow was born in New Haven, Connecticut, on 8 February 1919 and christened Muni ‘Moe’ Zudekoff. One of six children, he started to learn the trombone because an older sibling had already taken up the trumpet.

By the age of 15, he was already touring with jazz bands and moved to New York shortly after. He played with the likes of Buddy Rich, Bunny Berrigan, Tommy Dorsey, Jimmy Dorsey and the great Harry James. He joined the US Navy between 1941 and ’44, and was the lead trombone player in the band.

Buddy soon became a bandleader in his own right. It all started when Jimmy Dorsey fell ill one night and Buddy covered for him. Soon after this, in 1947, the Buddy Morrow Orchestra was formed. He had many hits with his band, the most notable being Night Train – a rousing rhythm-and-blues-style number.

Throughout the sixties Buddy was often seen on The Tonight Show. He resolved his band later that same decade and continued to work as a session musician and soloist – he was in great demand.

In 1977, as he was thinking about retiring, Buddy was approached about leading the Tommy Dorsey Band, which had continued to thrive after Tommy’s death in 1957. He agreed to take it on as a temporary gig, which actually lasted 33 years (a new take on the word temporary to me!). The reason Buddy stayed so long, of course, was because he enjoyed it so much.

When Buddy came over to the UK with the Tommy Dorsey Orchestra in the 1980s, I was lucky enough to hear him perform. I learnt so much from him just by being present. He had great musicianship and natural authority. It is a testament to his strength that he gave his final performance just a few days before he died.

Buddy is survived by his wife, Carol, his two daughters, Sara and Catherine, son, Peter, and three grandchildren. The trombone world has lost a real star and a great ambassador.

Emily White in Scotland A new composition by David Ward was performed by trombonist Emily White and electric violinist Steve Bingham in a festival in North-East Scotland on Friday 12 November.

E-mails from Palestine is a quasi-theatrical piece of music written in response to artwork and emails sent

by Scottish artist, Jane Frere, from Palestine. The composition was premièred shortly after Jane Frere’s exhibition opening of paintings, photographs, texts and video images inspired by her reactions to the Israeli/Palestinian wall. Emily, who not only plays sackbut, trombone and violin but also sings in the piece, claims the work to be ‘very powerful’. Look out for a full feature on E-mails from Palestine in the next issue of The Trombonist magazine.

Peter Moore in Birmingham Peter Moore, 2008 BBC Young Musician of the Year, appeared in Birmingham on Saturday 27 November and performed the popular Launy Grøndahl Trombone Concerto. This concert at the Shirley Methodist Church, Stratford Road in Solihull, also featured conductor Martin Leigh and the Solihull Symphony Orchestra. Moore’s performance was framed by Rossini’s William Tell Overture and Brahms’s Symphony No. 3, and was met with a rapturous ovation.

pBone This October saw the launch in the UK of pBone: the world’s first and only plastic trombone.

The instrument is not a gimmick – it has at its heart a desire to make the trombone accessible to everyone and has been created by a team who love the trombone.

Over the past two years, Hugh Rashleigh, a young design graduate from Loughborough University, has been working to turn his dream of a plastic brass instrument into a reality. Hugh has created every inch of this instrument from imagination to fruition and has brought his own unique and fresh perspective to trombone design. This process led Hugh to question every aspect of the standard trombone while listening to the needs of leading trombone performers and educators.

The first pBones are in red, purple, gold, blue and orange, and will arrive soon. After that, a series of ‘special’ bells and slides will come on stream.

The colours are both striking and exciting but the real benefits come from pBones’s strong and lightweight construction – nearly 50% lighter than a comparative brass instrument and very durable. It is very difficult to dent the glass-fibre slide or the bell The grip design is focused on ease – the standard trombone grip is a stretch for young tendons in small hands, but the pBone allows you to hold the instrument in three distinct ways. It is light, so it is no longer a challenge to hold the weight of the instrument on one hand. For more information please visit www.pbone.co.uk.

The Trombonist | Winter 2010 | 9

NEWS

stars of the future

Stars of the Future:

Lewis Bettles

Name

Lewis Bret Bettles Age

15 Location

Stannington, Sheffield Instruments

Yamaha Xeno; Conn 88H Current positions Stannington Brass Band (principal trombone)

Junior RNCM Brass Band (principal trombone) Bradfield School Jazz Band (lead trombone) Bradfield School Wind Band (principal trombone)

Started playing Euphonium (aged 8), trombone (aged 9) Teachers

Jonathan Beatty (2004-9) Rosalyn Davies (2009-)

Playing history Lewis’s first band was Stannington Training Band, where he played 2nd trombone for a year before movin to take up the solo trombone position with Thurlstone Brass Band when he was just ten years old. Lewis also played with Yorkshire Youth Brass Band, Elland Silver Youth, Deepcar and Stocksbridge bands.

During his time at Thurlstone, Lewis scooped the ‘Stocksbridge Band Club Soloist of the Year’ prize when he was 11 years old, for his stylish rendition of the jazz number, Blue John by Peter Kneale. Lewis was subsequently invited to join the Championship Section Stocksbridge Band when he was 12, and played with it initially as second percussionist but was also given the opportunity to play 2nd trombone and to perform in concert as a trombone soloist.

At the beginning of 2009, Lewis decided to pursue his musical ambitions further and auditioned on both trombone and percussion for a place at the Junior Royal Northern College of Music. His application was successful and he was offered a place to study both instruments from September 2009.

In January 2010, 18 months after joining Stannington and at only 14 years of age, Lewis took up the seat of principal trombone.

Ten weeks later, he was playing the test-piece, English Heritage by George Lloyd, in the Championship Section of the Yorkshire Regional Championships against Black Dyke and Grimethorpe Colliery bands.

So far this year January: Lewis performed with the Junior RNCM Brass Ensemble at the RNCM Festival of Brass.

February: 4BarsRest published a news article re appointment of Lewis as principal trombone with Stannington.

March: Lewis played with Stannington Band at the area contest in Bradford.

Lewis played Jan Sandstøm’s Sång till Lotta and RimskyKorsakov’s Trombone Concerto for his annual re-audition at the Junior RNCM, and was successful in retaining his place.

The director of the Junior RNCM asked Lewis to perform Sång till Lotta at the end of term concert.

April: Stannington Band, together with Bolsterstone Male Voice Choir and singer, John Reilly, held a charity concert at Sheffield City Hall to raise money for local hospitals. Lewis had previously been to the City Hall every year to see Grimethorpe give an annual concert, so it was a real thrill to perform on the same stage.

July: Lewis took part in the Brighouse Youth Solo Championships, where adjudicator, Thijs Oud, awarded him first place in the under-17 section for his performance of Weber’s Romance.

July/August: Lewis was very busy over the summer doing lots of recording and filming with Stannington Band for its part in Benjamin Till’s A Symphony for Yorkshire, which was aired live on the BBC on 1 August (Yorkshire Day) and the band was subsequently featured on BBC Look North. He also spent a weekend recording a Christmas CD with the band.

August: 4BarsRest published its ‘Scouting Report’ on Lewis.

September: Lewis performed at the North East Derbyshire District Council Entertainment Contest at Dronfield with Stannington. He was the band’s featured soloist and played Czardas on both trombone and xylophone. It went very well and had great entertainment value – the audience loved it.

Stannington won the contest.

Current activities Lewis is currently preparing for the Butlins contest with Stannington in January and for the area contest in Bradford in March. He is also looking forward to a trip to Holland, where the band has been invited to perform at the Royal Concertgebouw Hall.

Lewis also plays trombone in his school bands three times a week, and particularly enjoys playing lead trombone in the jazz band, which offers him different challenges to brass band playing, including lots of improvisation.

At the Junior RNCM, Lewis is working hard towards end of term performances on both trombone and percussion.

After Christmas, there are scales and arpeggio tests, music exams and re-auditions to prepare for, and yet more concerts and performances to look forward to. Life at the Junior RNCM is very busy, but at the same time very friendly and relaxed.

Lewis practises every day, and also attends a whopping seven band rehearsals a week, plus regular concerts and contests.

Saturdays are dedicated to his music studies at the Junior RNCM in Manchester, with Lewis often getting home just in time for an evening concert with Stannington. Sunday mornings are time for a well-earned rest, with Sunday afternoon given over to up catching up on homework, and then back to rehearsal on Sunday evening.

Favourite Pieces Test Piece: English Heritage by George Lloyd Concert Piece: Call of the Cossacks by Peter Graham Solos: Fantastic Polka by Arthur Pryor Ambitions Lewis hopes to continue his studies at the RNCM with a view to becoming a professional trombonist. And like any aspiring young brass band musician, he would of course love the opportunity to play with Black Dyke Band one day!

The Trombonist | Winter 2010 | 11

BSO

‘Bones in Wessex

The Wessex group during lunch break The first BTS event organised by newly-appointed Wessex representative. Bruce Harding. took place on Sunday 19 September at the Gainsford Theatre, Lytchett Minster School in Poole, Dorset. The event was arranged in association with the Bournemouth Symphony Orchestra, whose entire trombone section was not only present but also provided much of the day’s musical content.

Kevin Morgan – the BSO’s principal trombone – began by leading a warmup for the group of 27 participants at 10.00am; he had compiled several exercises especially for this event.

During the coffee break which followed, members took the opportunity to browse and buy from the three trade stands on display: Denis Wick Mutes, Mouthpieces and Accessories manned by Colin Driver, John Packer Ltd. with Steve Herbert

and Tony’s Trombones with Paul Coker together with Tony himself behind the stall. Playing resumed again after coffee, with Kevin taking the group through some of his big band arrangements – Tequila being a favourite. During this session Steve Hayes gave a short workshop on improvisation; several of the group were brave enough to have a go after a few practical tips from Steve.

Lunchtime seemed to arrive too quickly after all the fun, but the break provided further opportunities to talk to the men behind the stands about products ranging from mouthpiece brushes to top quality trombones!

The day’s music resumed with Donal Bannister – now principal trombone with the BBC National Orchestra of Wales – who gave a potted history of the trombone, complete with demonstrations of the various sound qualities that could be produced from

each of the five instruments that he had brought along with him!

Kevin followed with more polishing of the big band music rehearsed during the morning session. Robb Tooley – the BSO’s 2nd trombone – provided the entertainment for the final session of the day by giving us a stunning and thrilling performance of Dan Jenkins’ Trombone Concerto with the St. Aldhems Orchestra, which was very ably conducted by the BSO’s bass trombonist, Kevin Smith. A wonderful day was had by all.

My personal thanks goes to Kevin Morgan, Kevin Smith and the St Aldhems Orchestra, Robb Tooley, Steve Hayes, Donal Bannister, the three traders and Linda Higson (Education and Community Department, BSO).

Bruce Harding BTS Wessex Representative

633 Squadron Resounds in Rochdale When Brett Baker asked me to organise a British Trombone Society open day, I decided to model it on a similar event I attended two years ago in Bury. I was really impressed by the variety there and I knew this format would also work well at Rochdale. I thought it would be a good idea to involve some of the bands from the music service – especially the big band, in order to give trombonists who might not otherwise have had the opportunity to do so, the experience of performing in jazz styles.

Sunday 12 September at the Fieldhouse School kicked off with a massed blow in the morning, led

by Carol Jarvis, including a sterling rendition of 633 Squadron and 76 Trombones. Gary MacPhee (principal trombone of Grimethorpe Colliery 12 | Winter 2010 | The Trombonist

Carol Jarvis

Band) then demonstrated the more contemporary side of the trombonist’s repertoire in his masterclass. This was followed by a session led by Adrian Morris (bass trombone of the Hallé Orchestra), who gave sound advice on bass trombone technique and style.

After rounds of cups of tea and bacon butties, there was a short recital given

by Simon Minshall and the Black Dyke Quartet, who then proceeded to lend their expertise to a number of formed quartets. These small ensembles performed later in the afternoon, including an especially inspiring version of the William Tell Overture for two trombones!

The evening concert gave a fantastic opportunity for many BTS day participants to perform with the Rochdale Music Centre Youth Big

BSO

Band, who together performed A Shuffle for Uncle Guido and Birdland.

The concert also gave the more experienced trombonists a chance to demonstrate their virtuosity, with Gary MacPhee, Brett Baker, Carol Jarvis and Simon Minshall all performing solos. One of the most fascinating performances of the evening was the All-Stars Ensemble performing Lush Life, which added a real swing feel to the concert.

The event was rounded off by a performance by the Rochdale Borough Youth Brass Band, which gave a rousing rendition of march, Goldcrest. The band then accompanied Carol Jarvis and Gary MacPhee, who performed Autumn Leaves and Carrickfergus respectively.

The concert concluded with a truly awe-inspiring, 40-strong trombone choir magnificently performing 76 Trombones, directed by Ian Nelson.

I enjoyed the day tremendously and felt it was a huge success both for the BTS and for the Rochdale Music Centre.

James Howard BTS Young People’s Representative

East Anglian Trombone Day

The Sixth Annual East Anglian BTS Trombone Day took place again in the Great Hall of Oundle School on Sunday 3 October. As usual, we were very lucky to have a host of fantastic trombonists performing, conducting and speaking throughout the day.

This was, I think, the best attended BTS event in East Anglia so far, with more than 40 players in the massed blow in the morning alone!

Unlike previous years, the AGM took place in the opening session of the day – something that in my view worked exceptionally well. Some members did have to leave home rather early though, sorry! Our outgoing President, Bob Hughes, chaired his final AGM and the reigns were handed to our new President, Brett Baker, half way through the meeting. Running alongside this was a massed warm up for the youngsters, the sound of which travelled next door to the AGM. What a wonderful noise, especially as this group included some children who had only been playing for a year – what an amazing experience it must have been! Special mention goes to Mark Horton and the players from the Thames Quartet who led and helped with this session. All hands were on deck!

During coffee and lunch breaks,

everybody was free to peruse the trade stands that were present: Tom Watson of Prozone Music and Derrick Parker of Warwick Music. Huge thanks go to these two fantastic supporters and their companies, as these trombone days simply could not take place without their support.

Bob Hughes very kindly agreed to lead the full massed blow after the AGM. Under his experienced leadership the players worked on Crespo’s Bruckner Étude, amongst other pieces.

I do my best to feature a trombone group every year at Oundle School.

In previous years we have been fortunate to be dazzled by their performances and this year was no exception. The Thames Quartet consists of three undergraduate students and one postgraduate student from the Royal Academy of Music. This was their first public performance and boy, were we fortunate to be their first audience.

Matt Lewis, Steph Conway, Phil Dewhurst and Simon Minshall dazzled us with their opening piece, Toccata and Fugue in D minor by J.S. Bach.

The quartet also performed Bill Reichenbach’s lovely arrangement of Scarborough Fair, proving that the group also play slow and lyrical repertoire beautifully. The Thames Quartet is certainly a group to follow and to listen out for in the near future.

For many years, I have wanted Pete Beachill to attend the trombone day at Oundle School, and this year it finally happened. Pete gave a talk about how he became who he is today. He also gave advice on improving improvisation and emphasised the importance of the ability to switch between different styles of playing – invaluable skills needed this day and age within the music profession. Smiles spread across the room when Pete played a recording of Frank Rosolino and mentioned how this player influenced him and so many others over the years.

Bob Hughes, having just stepped down as BTS President after four years service, deserved a fitting farewell. Who could be better to sit down and have an informative, relaxed interview with him than Sheila Tracy. Both Bob and Sheila brought recordings of their favourite players and pieces, and interspersed these select musical highlights into a fascinating interview about Bob’s life so far. And of course, a BTS trombone day is never over until the massed blow plays – a very enjoyable end to an awe-inspiring day.

My huge thanks go to everyone who performed and took part in the day – another huge success and another day of very happy memories!

Ben Bouzan BTS East Anglia Representative

Brett Baker and the Black Dyke Quartet in Beverley

The Hexagon Music Centre – the new home of the East Riding Schools’ Music Service – played host to the British Trombone Society on Saturday 2 October. The day was attended by a good number of trombone players from around the East Riding area and further afield.

The open day was led by Brett Baker.

Brett is an internationally renowned trombone soloist and clinician as well as being the principal trombonist of the world famous Black Dyke Band. He was joined by the Black Dyke Trombone Quartet and soloists, Stephen Lomas and Chris Gomersall.

The day included workshops and masterclasses, and culminated in a concert featuring quartets and soloists, including a performance

by Richard Leonard – principal trombonist of the East Riding Youth Orchestra – who gave a fine rendition of the first movement of Launy Grøndahl’s Trombone Concerto.

The concert finished with a massed performance of the Thunderbirds theme, played by a large trombone choir.

Peter Walker (Assistant Head of the East Riding Schools’ Music Service) said: “It was a really enjoyable day, which was very much a celebration of trombone playing. It was great to see so many of our young pupils attending as it gave them the opportunity to hear some of the finest trombonists in the country perform a wide range of music. Hopefully they will all have gone away feeling excited and inspired by what is possible with a bit of hard work and regular practice. We look forward to welcoming the BTS back to the Hexagon next year.”

Paul Smith Published on www.hu17.net, Sunday 3 October 2010 Article reproduced by kind permission of Paul Smith, www.hu17.net and the East Riding Schools’ Music Service.

The Trombonist | Winter 2010 | 13

NEWS

The Royal College of Music Junior Department The Royal College of Music in London is renowned in the UK and internationally as one of the foremost providers of training for those wanting to enter the music profession. What is perhaps slightly less well-known is that it also provides for younger musicians aged 8 to 18. The Junior Department (or RCMJD) has exclusive use of the RCM’s wonderful facilities every Saturday during term-time.

of the age spectrum, these can include brass ensembles and Symphonic Wind Orchestra. As students grow, there are then opportunities for progression to the department’s flagship brass dectet and one of two full-size symphony orchestras, as well as jazz and other small groups, all of which take part in performances throughout the year (at the RCM and elsewhere).

At every level, trombone players

itself on its individual approach; the emphasis at JD is on challenging and developing each student both musically and personally, in order that they can fulfil their potential. JD students are also encouraged to be musically active in their local area (at and outside their weekday school) during their time at Junior Department, as well as regionally and nationally where appropriate.”

The RCM is situated in South Kensington, London, and many students have commented on how excited they are even before they enter the building. Sitting directly opposite the Royal Albert Hall, the Royal College of Music is at the heart of Exhibition Road, London’s premier cultural quarter (see www.exhibitionroad.com). The RCM’s many collaborations with neighbouring institutions such as the Science Museum and the Natural History Museum generate a buzz throughout the whole area.

Students attend their chosen weekday school for general education, and then arrive at ‘JD’ on Saturdays for a programme tailor-made to fit their musical needs. It’s a significant commitment, both in terms of time and energy, but the breadth and standard of the tuition, as well as the chance to mix and socialise with like-minded young musicians, make Saturdays for many students the highlight of their week.

As Director of the Junior Department, Peter Hewitt, states: “Our aim is to train students in an encouraging, creative, friendly and fun environment to a standard where they could continue their musical education at undergraduate level should they wish, though there is no expectation that they will do this – a number of RCMJD graduates have recently gone on to a variety of different courses and careers such as engineering, languages, medicine and even rocket science!”

Focus on Trombone Playing Within RCMJD, trombone playing thrives – its 14 trombone students take part in a variety of specific activities alongside their individual lessons: for students who join JD at the younger end 14 | Winter 2010 | The Trombonist

work with JD’s two inspirational and experienced teachers, Amos Miller and Peter Harvey, as well as with the rest of JD’s terrific team of dedicated brass teachers / tutors, Phillip Bainbridge and Torbjörn Hultmark (trumpet) and Kevin Morgan (tuba), all of whom have a particular rapport with young players.

In all of this, the range of repertoire is wide and hugely stimulating, embracing far more than standard ‘classical’ works.

A flexible programme in a prime location Overall, the RCM’s Junior Department currently has around 300 students aged between 8 and 18 who travel from all over the country (including one trombonist from Belfast!).

Generally, their curriculum will include participation between 9.00am and 5.00pm in individual (one-to-one) tuition alongside orchestral, ensemble, class musicianship and choral training.

However, the exact content of each student’s timetable is decided in consultation with the students and their parents, and takes into account the age and level of the student, as well as their journey time and distance from the RCM. Peter Hewitt added: “JD prides

How to Apply In order to join the Junior Department, applicants attend a short audition where they usually play to the Director of RCMJD and a specialist. Particularly for younger students, it is not necessary to be especially advanced either technically or musically; far more important is a sense of enthusiasm, as well as the potential and desire to develop and improve. JD’s main audition period is during March and April (application deadline 1 March), but auditions at other times of year can be scheduled if places in the Department are available.

Musical education is expensive, so RCMJD aims to ensure that prospective students are never prevented from joining the Department if finances are an issue – alongside support from independent trusts and foundations, funding allocated from the Government’s Music and Dance Scheme (www.dcsf.gov.uk/mds) can provide assistance with fees and sometimes other music-related expenses too.

If you think that RCMJD may be the place for you, your student(s) or your child(ren), you can find out more by visiting www.rcm.ac.uk/junior, or by contacting the Department’s administrative team via jd@rcm.ac.uk or 020 7591 4334. If you would like to experience the Department in action before applying, there is the option of attending either a Visit Day or going to one of JD’s concerts and competitions, many of which are open to the public (a full list is available at www.rcm.ac.uk or from the RCMJD office).

NEWS

Bold as brass?

Trombone superstar, Denis Wick, pulls no punches as he ponders the fate facing wannabe orchestral brass performers

Present government spending cuts are affecting all areas of the economy; it is probably too much to hope that our world-class musical organisations will emerge unscathed. Faced with this, it eventually begins to dawn upon those starry-eyed students who first entered the hallowed portals of our great music colleges with such high hopes that it is difficult – or nigh on impossible – to have a successful career as a professional performing musician in today’s musical arena. Student numbers and standards are now higher than they have ever been, and although there will always be room at the very top for the very best, the ‘very best’ represents only five percent or less of the hopeful students. The recent openings at the London Symphony Orchestra – for the positions of first flute and first trumpet – were both filled by graduates fresh from college (Adam Walker and Philip Cobb, respectively); however, these two musicians are exceptions that prove the rule.

When my professional career began in 1950, standards were much lower; very few of my (older) brass-playing

colleagues had ever studied at a music college, and they had usually achieved their extremely reliable professional qualities through long years in military or, very occasionally, brass bands. Most music colleges now demand four years of study for a BMus, often followed by one or two years of postgraduate study – and their students are rarely completely self-taught upon arrival, as I was.

Although I would not agree with the suggestion made by a not-very-musical friend that sending trombone players to a music college is a bit like sending plumbers to a school of architecture, I wonder if today’s conservatoire education is as relevant as it might be to the ever-varying needs of the 21stcentury music profession.

I have always thought that the finest exponents of brass playing were always the most versatile; hearing Maurice Murphy play in a brilliant big band leadtrumpet style after a beautifully demure performance of a Mozart symphony makes me realise how it should be.

Colin Sheen playing 1st trombone in the English Chamber Orchestra and then lead in the BBC Radio Big Band is another fine example; everybody must be able to do everything.

I believe that all music colleges should make brass-playing students aware of the entire gamut of everything they might have to do, from baroque to modern jazz – and even pop music.

That said, if the students do not wish to pursue every angle, then that has to be their choice.

The reality of orchestral brass playing is that for 90 per cent of the time, one is fulfilling a background role where perfect balance and sound quality is taken for granted. This musical ‘cabinet-making’ is not without its rewards and the sense of enjoyment in the simple pleasures of perfect musical joints and high polish is not to be belittled: being surrounded by wonderful music beautifully played more than compensates for any tedium.

But only rarely can one demonstrate the kind of musicianship that is heard every hour of every day from the orchestra’s woodwind soloists, and it is true to say that a disproportionate amount of time at music college is spent studying solo repertoire – often of low musical merit – that is rarely, if

ever, heard on the concert platform.

It is, of course, necessary to develop the musicianship of the trombone or tuba player – however, the Bach cello suites transcriptions have their limitations. I have always thought that if trombone concertos had been written by Mozart instead of Georg Wagenseil, Beethoven instead of Johann Albrechtsberger, Mendelssohn instead of Ferdinand David, Tchaikovsky instead of a young Rimsky-Korsakov or William Walton instead of Gordon Jacob, the trombonist’s life would be very different!

In reality, most, if not all, of today’s brass students will spend some time in their careers as teachers (although it does not always follow that good players make good teachers).

One would assume that study at conservatoire level would – and should – enable any brass student to cover the whole spectrum of teaching, allowing them to handle a range of students from young players tackling their first notes to those of a National Youth Orchestra (NYO) standard, should they be called upon to do so.

I have been coaching the trombones of the Gustav Mahler Jugendorchester since 1993. These young players are carefully selected from the cream of Europe’s music schools; needless to say, they are the finest players of their generation. I have always found that the quickest method of getting my charges to think as a team is to work with the simplest music – in this case, those wonderful arrangements of the Bach chorales by David Fetter. Because the first part is so demanding, the tenor trombone players rotate; and, with minimum input from me, within an hour they sound like an excellent professional section with years of experience of playing together.

It is a sobering thought that, according to a recent survey – and as I understand it – only around ten percent of those brilliant young NYO members go on to become professional musicians.

The ever-improving standard of so many amateur orchestras is a by-product of that fact. These potentially top-class professionals simply cannot afford to be musicians.

First published in Muso issue 49, Oct/ Nov edition. Visit www.musolife.com to purchase the magazine.

The Trombonist | Winter 2010 | 15

FEATURE

From Strength to Strength: The trombone department of the Birmingham Conservatoire is entering into one of its strongest years. Led by David Purser, Head of Brass, the department now contains 20 undergraduate students with seven regular visiting tutors and many prolific trombonists visiting annually to give masterclasses and individual lessons. Third year student at the Conservatoire, Tabitha McGrath, takes a quick look at what has happened in the past year and looks forward to 2011.

reviews. There were some excellent brass band concerts under the baton of Ian Porthouse, and Elgar Howarth led a fantastic performance of Holst’s Perfect Fool and William Walton’s epic Belshazzar’s Feast, complete with shouting choir. The Belgian composer, Louis Andriessen, spent an entire week at the Conservatoire giving students at the college the opportunity to perform some of his exhilarating music, which was executed with panache and style.

Other performances from the last year included a night of Wagner’s music, the première of David Blake’s new opera, Scoring a Century, and Prokofiev’s Romeo and Juliet. All of these concerts were performed in our main auditorium, the 500-seat Adrian Boult Hall.

The Conservatoire itself has some fantastic connections with other establishments across the world. Two other trombone students and I were lucky enough to take part in the Erasmus Exchange Programme, an option for third year students to study

The staple part of our education at the Conservatoire is spent in one-to-one instrumental tuition. Ed Jones (CBSO) is now added to the teaching staff along with Tony Howe (CBSO), Katy Jones (LSO), Bob Hughes, Alwyn Green, Sue Addison (for sackbut studies) and David Purser. The superb teaching staff are the highlight of the trombone department.

As well as providing first-rate individual lessons, they also provide chamber music coaching and orchestral sectional training.

A new system for orchestral concerts, implemented into the Conservatoire last year, meant a rise in the number of performances per year, and we as trombone players were spoilt for choice with the excellent repertoire that was selected. Lionel Friend’s interpretation of Mahler’s formidable Sixth Symphony was, without doubt, the pinnacle of the year. This end-of-year concert was held at the Birmingham Town Hall and was a great success with some fantastic

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16 | Winter 2010 | The Trombonist

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FEATURE

: Birmingham Conservatoire

at another participating music school for one semester. Matthew Edwardson studied for three months in Krakow, Poland. Peter Stones travelled to Prague, Czech Republic, and I went to Leipzig, Germany. This excellent programme, supported by the EU, proved to be an invaluable experience for all three of us, and it is something that we hope can be repeated by more trombone students in the near future.

Of course, in May this year, the Birmingham Conservatoire was lucky enough to entertain a superb BTS event, including the final of the Don

Lusher Prize, workshops from the CBSO trombone section and a recital with Simon Johnson (BBCSSO). We would like to thank Bob Hughes, David Purser and the BTS for organising such an event.

Within college, we have had some fantastic masterclasses, including a visit from Don Lucas (Boston University Brass Department) who also gave a brilliant short concert. At the start of 2010, the first-class trumpeter and pedagogue, Kristian Steenstrup, made his annual visit, and several trombone students took advantage of the opportunity to attend Steenstrup’s masterclass. The brilliant Chris Houlding led a session on important orchestral excerpts; his private lessons for some individual students also proved to be invaluable.

Similarly, following the BTS day in May, Simon Johnson gave an open masterclass and an impromptu chat that was both humble and insightful.

Following on from Martyn Sanderson in 2008 and Guy Morley in 2009, Matthew Edwardson has been awarded a place on the prestigious CBSO scheme, where he will be invited to join the trombone section of the City of Birmingham Symphony Orchestra for rehearsals of some of its major works for the 2010/2011 season – one of many excellent links the college has with the orchestra.

Two trombone quartets are fully up and running within the conservatoire.

The all-female BrumBones Quartet has recently undertaken a national tour and has delighted audiences with light music and Classical repertoire alike. The Bacchus Trombone Quartet, through sheer luck perhaps, has spent most of the year on sackbuts performing everything from the Monteverdi Vespers in freezing churches to accompanying recorder players, and they are looking forward to concerts and competitions around the country in the next year.

These, along with several other studentrun ensembles, form a large part of our learning curve during our time at the Conservatoire.

Looking forward to next year, we hope to see even more masterclasses within the department as well as a continuation of the excellent teaching we already receive. The seven final year students have important major projects and recitals to look forward to, whilst those in the lower years still have to battle with technical exams and a number of essays (good luck with those).

We are looking forward to Britten’s War Requiem in June 2011 and a potential concert featuring a piece by Gabrieli written for 22 sackbuts – Sue Addison has been plotting this for years!

For further information about the Birmingham Conservatoire and about up-and-coming concerts and events, please visit www.conservatoire.bcu.ac.uk The Trombonist | Winter 2010 | 17

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FEATURE

Bobby Lamb Honoured With Doctorate of Music

Bobby Lamb Talks to Sheila Tracy appeared in the Autumn 2003 edition of The Trombonist. At that time he was in his 23rd year as Director of Jazz Studies at Trinity College of Music, London, having been made an Honorary Fellow of the college in 1987, and on his retirement in 2007, Bobby Lamb was made an Emeritus Fellow – only the second person in 100 years to receive the honour. Now, perhaps an even greater honour has been bestowed on him by UCC, the University College of Cork (his hometown). He has been awarded its very first Doctorate of Music.

During his time at Trinity, Bobby was responsible for its big band gaining international recognition. Together they recorded six albums, including one

alongside Stan Kenton, which sells in America and includes the Cuban Fire Suite in its entirety. He had first met Kenton in 1955 when he spent three years in America, during which time there was an occasion when he depped in the Stan Kenton Band. He also played in Charlie Barnet’s Band and Woody Herman’s Third Herd, sitting alongside the great Bill Harris.

Shortly before Kenton died in 1979, he and Bobby Lamb were planning to work together, recreating the Kenton Neophonic Orchestra in order for similar bands to be formed in major cities throughout Europe. Two years ago, however, Bobby formed the 76-piece London Neophonic Orchestra, which in October gave a concert at

the Blackheath Halls, playing many of Bobby’s own scores.

His first work, recorded over 40 years ago, was a jazz version of the Children of Lir, which won the Blue Ribbon for ‘Outstanding Recording of the Year’, and in 1970, he became the only jazz composer to win an Ivor Novello Award with his Seventeenth March. His film scores include Flight Deck Story for the BBC and March Day for Carl Foreman, and in 1977 he won the ‘Ka Spirit of Life Arts Award’ for his contribution to Irish music. With two symphonies and seven concertos to his credit, he is a frequent visitor to Dublin to conduct the RTÉ National Symphony Orchestra.

Sheila Tracy

The Trombonist | Winter 2010 | 19

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Once completed please send to Sarah Stuewe, Parkinson’s UK, 215 Vauxhall Bridge Road, London SW1V 1EJ © Parkinson’s UK, October 2010. Parkinson’s UK is the operating name of the Parkinson’s Disease Society of the United Kingdom. A company limited by guarantee. Registered in England and Wales (948776). Registered office: 215 Vauxhall Bridge Road, London SW1V 1EJ. A charity registered in England and Wales (258197) and in Scotland (SC037554).

R-T201

The Trombonist | Winter 2010 | 21

NEWS

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Rapid emergency repair service.

Treat your trombone to a Super Slide renovation.

Personal callers and postal service.

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www.barrlines.co.uk

Email: grahamfsmith@gmail.com

JD - Trombonist ad 2011:Layout 1

26/11/2010

12:28

Page 1

Calling All Young Trombonists: Join the fun at the Royal College of Music Junior Department!

A Saturday term-time music school offering advanced training to musicians between 8 and 18 years old Your individually-tailored programme can include one-to-one tuition, ensembles, orchestra, choir and general musicianship

Study at the highest level under inspirational teachers such as Amos Miller and Peter Harvey Make music, perform and compose with other young people of similar age and ability Financial support available

To find out more, request an information pack from: Royal College of Music Junior Department, Prince Consort Road, London SW7 2BS T: 020 7591 4334 • E: jd@rcm.ac.uk • W: www.rcm.ac.uk/junior

22 | Winter 2010 | The Trombonist

FEATURE

Advocating the German Trombone ‘Verein für Mitteldeutsche Posaunengeschichte’ has an esoteric ring to British ears, but what it stands for is an energetic and totally committed group of trombonists. This society, devoted to the traditional German trombone, was founded in late 2007 and has just completed its first major project – an exhibition showing the history and living tradition of the German model trombone.

The exhibition, organised in conjunction with the Museum for Music Instruments of the University of Leipzig (with a wonderful collection and displays of historic musical instruments of all kinds) was opened with a splendid flourish on eight trombones on Saturday 4 September. Some 30 instruments, an instrument maker’s workshop, documents and graphics make up an exhibition with wide appeal. The exhibition is skilfully curated by Birgit Heise.

The exhibition takes its title, Die Deutsche Posaune – ein Leipziger Kind, from the fact that the traditional German trombone, with its wide bell, garland and entwined snake bow decorations, originated before 1840 in Leipzig with the maker Christian Friedrich Sattler (who invented the Bb&F slide trombone with thumb valve now played everywhere). Subsequently this model was made not only in Leipzig by famous makers such as Johann Christoph Penzel and Robert Schopper, but also by Friedrich Alwin Heckel in Dresden and by makers in Markneukirchen and Berlin. The modern (American model) trombone derives from this traditional German model, but has developed a still wider bore and features such as the tuning slide in the bell bow. At the same time the tradition of the German trombone was continued with little change. This was the kind of instrument whose sonority was masterfully exploited by Wagner and Bruckner.

Today, however, the position of the German trombone is threatened in its own country. Some orchestras expect their trombone section to use the German model, but in many places success in auditions is secured with American instruments, or copies of American trombones made in Germany.

Internationalisation, which has swept aside the French model trombone in France and Britain, now threatens the traditional German model.

Realising that its very special sound and tradition is very well worth preserving, a group of mainly professional trombonists formed the Verein für Mitteldeutsche Posaunengeschichte to advocate the German model trombone. The leading light and Chairman is Martin Majewski (former principal trombonist of Hannover Opera); other prominent founder members are Rolf Handrow (solo bass trombonist of Leipzig Gewandhausorchester), Sebastian Krause, principal trombone of Leipzig Radio Symphony (an expert in historical trombone practice), and orchestral trombonists from Dresden, brass instrument makers from the region and trombone collectors, mostly from Halle.

Of course, outside German-speaking countries some orchestral sections play German trombones in typical German repertoire, and the German trombone played an important part in British trombone history (see Chris Stearn’s article in The Trombonist, Spring 2004, pp.21–22). Notwithstanding this, a healthy German trombone tradition in Germany is worth fighting for, and we wish all power to the elbows of the Mitteldeutsche Posaunenverein.

Professor Arnold Myers Chairman, Edinburgh University Collection of Historic Musical Instruments Photographer: Marion Wenzel. Photographs © Museum für Musikinstrumente der Universität Leipzig.

Note: The exhibition runs until Friday 29 July 2011. A catalogue of the exhibition has been published by Museum for Music Instruments of the University of Leipzig.

The Trombonist | Winter 2010 | 23

REVIEW 01: 02: 03: 04: 05: 06: 07: 08: 09: 10: 11: 12: 13: 14: 15: 16: 17: 18: 19: 20: 21: 22: 23: 24:

Smile

Carol Jarvis Today it is something of a luxury for any trombonist to have the opportunity to perform this sort of material with a full orchestra, and Carol Jarvis takes full advantage of it.

From the very first track, What Are You Doing New Year’s Eve, one is enraptured by the very simplicity of the execution – a beautiful tone and an ease of playing that is an absolute joy. No histrionics, just a straightforward treatment of much loved standards. Only four tracks are likely to be unfamiliar, one of which is Carol’s Tune, composed by her record producer, Roderick Dunk, who is also responsible for several of the arrangements. I guarantee you have never heard anything quite like this collection and I particularly enjoyed Tico Tico, which I’ve played on Swingtime on Pure Jazz Radio. In complete contrast, lend an ear to ‘Polka Dots and Moonbeams’ because this, for my money, is what playing the trombone is all about.

Helped and supported by Rolf Harris and a whole range of people including all the musicians, who gave their services free, Carol Jarvis has produced an exceptional recording that will surely remind us that this is trombone artistry in its purest form. The title, Smile, is a testament to her sheer guts and determination to fight her cancer diagnosis and in the process raise money for Macmillan Cancer Support who will benefit from the sale of this CD. Sheila Tracy

Telling Stories Mark Bassey

Hey what’s this? My exact words on hearing the start of Mark Bassey’s Telling Stories. What a joy to hear something totally original and totally unexpected.

Fifteen years ago Mark was invited to lead his own line-up for a gig in Stoke Newington and contacted pianist, David Frankel, bassist, Simon Thorpe, and drummer, Sean Randle.

But this was to be no ordinary gig. Mark wanted to tell a story, and he had six months to come up with a programme of his original compositions. Six weeks before the date, he started putting pen to paper.

It goes without saying that Mark is an excellent exponent of his instrument, but his talent goes way beyond that. This CD is a revelation.

I couldn’t stop listening from In The Beginning, which swings, through Road Rage on track 5, portrayed by an extremely annoyed trombone, to the peaceful, unhurried Swimming With the Fishes on track 7. The Shark Attacks on track 9 – so too does Mark – and there is an Enormous Pink Jellyfish on track 12. Excellent contributions from Frankel, Thorpe and Randle throughout help to make this a collection to savour.

Don’t listen to this as background music, however, because it most certainly isn’t – including as it does, some vocal guidance.

The wait was well worth it, Mark, but please don’t make us wait another fifteen years before you treat us to another one of your brilliant brainchilds!

Sheila Tracy

24 | Winter 2010 | The Trombonist

Mozart – Requiem –Tuba Mirum – ECO – Barenboim; Fischer-Dieskau – 1972 Mussorgsky – The Catacombs – NPO – Maazel – 1973 Berlioz – Symphonie Fantastique 4th movt – NPO – Stokowski – 1968 Chabrier – Espaňa excerpt – Philharmonia – Karajan – 1960 Arthur discussing Karajan with Hugh Bean, Hugh Maguire and John Tolansky Schumann – Symphony No 3 last movt – Philharmonia – Muti – 1978 Vaughan Williams – Symphony No 4 excerpt from 1st movt – NPO – Boult – 1967 Vaughan Williams – Symphony No 4 last movt – NPO – Boult – 1967 Verdi – Nabucco Overture excerpt – NPO – Muti –1977 Verdi – I Vespri Siciliani Overture – live at RFH – Philharmonia – Giulini – 1963 Elgar – The Dream of Gerontius excerpt – NPO – Boult – 1975 Mozart – Mass in C minor 1st movt – Philharmonia – Leppard; Kiri Te Kanawa – 1973 Rimsky Korsakov – Russian Easter Festival Overture solo – Philharmonia – Matacic – 1958 Rubbra – Symphony No 2 last movt – Philharmonia – Handley – 1978 Ravel – Bolero solo – NPO – Maazel –1963 Prokofiev – Ivan the Terrible last movt – Philharmonia – Muti – 1978 Wagner – Tannhäuser – Philharmonia – Klemperer – 1960 Ravel – Bolero solo – NPO – Frühbeck de Burgos – 1970 Ravel – Bolero ending – NPO – Frühbeck de Burgos – 1970 Bruckner – Symphony No 6 excerpt 1 from 1st movt – NPO – Klemperer – 1964 Bruckner – Symphony No 6 excerpt 2 from 1st movt – NPO – Klemperer – 1964 Bruckner – Symphony No 6 excerpt 3 from 1st movt – NPO – Klemperer – 1964 Bruckner – Symphony No 6 excerpt from last movt – NPO – Klemperer – 1964 Puccini – Tosca end of Act 1 – NPO – Mehta; Domingo – 1972

ARTHUR WILSON 1927 – 2010

Compilation by Steve Mathieson. Total playing time 1h 17m 37s

Arthur Wilson Original Recordings Arthur Wilson Celebration Concert CD – Celebration of the life of Arthur Wilson

Arthur Wilson was a truly great musician whose playing career encompassed a golden era of music making in London from the early fifties to the late seventies, when music was made much more accessible to the general public through the development of the long playing record.

Following Arthur’s death in July 2010, his wife Fiona discovered in a wardrobe a complete list of the recordings on which Arthur had played with the Philharmonia Orchestra (this list is available on the BTS website by following the links to Arthur Wilson). It is quite incredible to see the amount of recording the Philharmonia were undertaking during this period with some of the world’s leading conductors, including Otto Klemperer, Herbert von Karajan, Carlo Maria Giulini, Wilhelm Furtwängler, Riccardo Muti and Arturo Toscanini, to mention just a few.

Over the summer months one of Arthur’s ex-students – Steve Mathieson (principal trombone of the RTÉ Concert Orchestra) – put together a compilation CD of extracts from some of these recordings, which is a wonderful tribute to the superb artistry of Arthur. His sensitive legato style of legato playing can be heard on the Tuba Mirum from the Mozart Requiem (Daniel Barenboim), Schumann’s Third Symphony (Muti) and Rimsky Korsakov’s Russian Easter Festival Overture (Lovro von Matačić). The sheer power of the Philharmonia low brass is demonstrated in The Catacombs from Mussorgsky’s Pictures at an Exhibition (Lorin Maazel), Berlioz’s Symphonie Fantastique (Leopold Stokowski) and Vaughan Williams’s Fourth Symphony (Sir Adrian Boult). There are two Boleros in surprisingly different tempi (Maazel and Rafael Frühbeck de Burgos) and an electrifying performance of Verdi’s I Vespri Siciliani Overture, live from the Royal Festival Hall in 1963 (Giulini).

Just a few of the many highlights from this historic CD, which should be in every trombonist’s library.

Fiona organised a celebration concert for Arthur on 10 October 2010 at the Henry Wood Hall, London. Featured artists included London Brass, the trio of Peter Davies, Dan Jenkins and Pat Jackman, Pete Beachill and his fabulous Big Broad Band, and the glorious sound of a trombone choir consisting of 52 of Arthur’s ex-students performing Just a Closer Walk With Thee and Bruckner’s Locus Iste. A CD of this wonderful evening has been produced with the expertise and generosity of Pete North and Pete Beachill.

To order one or both of these CDs please return the application form on page 21 to Sarah Stuewe, Parkinson’s UK, 215 Vauxhall Bridge Road, London SW1V 1EJ. All proceeds go to Parkinson’s UK. £2.00 postage and packaging will be charged for any overseas orders.

Bob Hughes

REVIEW

Go Stop Go Gareth Roberts Quintet This is a fine release by a self-propelling group. Welsh trombonist, Gareth Roberts, is a graduate of the jazz course at the Royal Welsh College of Music and Drama in Cardiff.

Roberts and his colleagues all complement each other supremely well. Since the quintet’s début album, Attack of the Killer Penguins, back in 2006, the group has launched this new album, Go Stop Go, which has been influenced by Charles Mingus and the Blue Note funk albums of the 1960s.

One of the major differences between Go Stop Go and the band’s first album is that Marcin Wright on clarinet and saxophone has left and trumpeter, Gethin Liddington, has joined the band; now the union of trombone and trumpet renders a clearer enunciation of the music’s intentions. Both Gareth and Gethin are authoritative and fervent in their approach to this music; Paul Jones is innovative and vibrant at the piano; both Chris O’Connor on bass and brother, Mark, on drums are superb, creating an indispensably invasive bass and rhythm section.

The opener, Shaky Leg Syndrome, has some fine solos from Gareth, Paul and Gethin – this track is pure delight from start to finish. The second piece, Waiting, is a ballad that features Gethin’s harmon-muted trumpet and Paul’s lyrical piano. Gareth’s own solo deploys of a plunger mute to add a soulful tonal quality. All in all, this track demonstrates some combinations of sumptuous sounds. Go Stop Go Man leaves the listener to marvel at the breathtaking versatility of the trumpeter, underpinned by Mark on the drums in a military style, then it’s Gareth’s turn; he moves effortlessly in a tranquil mood. Unlucky Lee – my favourite track – is in the direction of the late, great American hard bop trumpeter, Lee Morgan.

Gethin plays with assurance, followed by powerful solos from Gareth and Paul. Although rooted in the Blue Note tradition there are also fundamental passages of earlier swing in this frisky tune. Chwilio (Welsh for Searching) is the album’s second ballad, which features the trombone adding light and shade to a turned-down number with a velvety, smooth, soul feel. Well I Think You Should is the vehicle for some fine solos from the piano, trumpet and trombone – I just could not stop my foot from tapping along to this great number. Cwyn MamYng-Nghyfraith (Mother-In-Law’s Complaint) is a traditional Welsh folk song that has been turned into a hearty jam tune for the band. This is an absolute masterpiece featuring all five members of the quintet – including Mark, who enjoys a lengthy drum solo.

Gareth Roberts is an inventive and agile trombonist who structures his solos well, deploying the full range of what is sometimes regarded as a lugubrious instrument. The fusion of constructive melancholy and detailed vibrancy characterise these original pieces, which have all but one been composed

by Gareth himself. The playing is brilliant and enthusiastic.

This is a very impressive album, which I would recommend to all trombonists and any jazz lover.

Chris Jeans

Ferdinand David: Concertino for Trombone, Op. 4

Christopher Mowat edition with piano reduction This new edition by one of the UK’s leading trombonists and teachers is most welcome. Since its first performance in 1837 by Carl Queisser, a member of the Leipzig Gewandhaus Orchestra, this concertino has probably become one of the most important and most played pieces for the classical trombone, a pre-requisite for the orchestral audition and a recognised favourite for the conservatoire / university recital.

As Mowat says, there are various performing editions currently available but with considerable variation in detail between them. This new edition attempts to clarify some of the points that have been at issue and aims to provide a good basis for a stylistically accurate performance.

As one would expect, the editing of the solo trombone part is first rate with virtually every note shaped and moulded with thought and care. My only feeling is that with such care and attention to detail the actual overview could be over prescriptive leaving little to the imagination of the teacher or performer. In the note on the edition Mowat says: ‘Composers who are themselves string players tend to append to the music markings that indicate bow technique rather than phrase marks, slurs, breathing or tonguing.’ I have to plead guilty, as I have always encouraged my students to think about bowing in relation to breathing: in terms of phrasing, the bow for a string player is the breath for a wind player.

The trombone part is written in tenor clef, which, to all of us who are used to other editions, looks mighty strange. In terms of presentation, it is unclear what the reason for this is. The range of 9 to 11 staves per page (rather than the normal 13) and the very white paper makes the music look too big and too heavy. However, both the solo part and piano accompaniment have bar numbers and rehearsal letters, which is an excellent and welcome addition.

Compiling a convincing piano reduction from an orchestral score is by no means an easy task. When considering Mowat’s piano accompaniment there are some issues that are problematic. For me it looks as if there has been too much serious thinning down, leading to some loss of harmonic subtlety. Bars 9 and 11 are missing the key harmony notes of B flat, and in bar 13 the left hand octaves are particularly bare.

Bar 46 in the left hand should surely be E flat – not B flat, as printed. Opportunities to rescore and simplify the repeated triplet figure at letter C have not been taken and the quavers replacing the more energetic semiquavers at bar 36 makes for a general loss of energy and forward momentum. The opening pianissimo legato is replaced by a piano dolce leading to fortissimo at bar 20, which is 22 bars before the entry of the trombone solo. Other editions, in particular the Mueller edition, arrive at the first fortissimo when the trombone enters after the 41-bar introduction, with its by now famous opening statement; this is a far better gradation of dynamics.

Up to now, despite some piano accompaniment concerns, my preferred revised edition is by Robert Mueller, 1944, which was adopted by the Faculty of the Julliard School of Music. I fear that nothing has changed.

Peter Gane The Trombonist | Winter 2010 | 25

26 | Winter 2010 | The Trombonist

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EVENTS

BTS Events 2011 16 January - Gloucestershire Music Service Royal Forest of Dean College, Berryhill, Gloucestershire. Contact Brett Baker president@britishtrombonesociety.org Saturday 29 and Sunday 30 January Hampshire Music Service Ferneham Hall, Fareham, Hampshire 30 January - North West BTS Day - Salford University.

Contact Gareth Westwood - northwest@britishtrombonesociety.org February (tba) - Northern Ireland BTS Day Venue: Portadown Town Hall Organised by: Stephen Cairns 8 May - Midlands BTS Day - Birmingham Conservatoire, Paradise Circus, Birmingham. Contact Ben Henderson midlands@britishtrombonesociety.org 26 June - RNCM Brass Day, Manchester, Contact Brett Baker president@britishtrombonesociety.org 11 September - Oswestry BTS Day, Porthywaen Band Hall, Porthywaen, Oswestry, Shropshire, SY10 8LX. Contact Gareth Johnson 01691 831519 2 October - East Anglia BTS Day and AGM Oundle School, Northamptonshire. Contact Ben Bouzan eastanglia@britishtrombonesociety.org

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The Classic has long been a favourite of trombone players and is seen in orchestras all over the world.

It is responsive and gives excellent flexibility combined with a rich tone.

The Heritage design combines thin walls with a heavy cup, creating a unique mouthpiece which is highly responsive in quiet playing yet powerful when played in fortissimo passages.

The HeavyTop, now available in either gold or silver plate, is designed for symphony players looking for a powerful sound which will project through loud orchestral textures. The huge mass of this mouthpiece gives it enormous carrying power.

Heritage 5AL mouthpiece:

“This combination of traditional and futuristic design promotes a wealth of overtones to produce a unique, beautiful, ringing tone and vivid articulation.”

Chris Houlding, Professor at the Folkwang Hochschule, Essen, Senior Tutor in Brass at the RNCM, Ex-Principal Trombone, Opera North.

Denis Wick is now introducing the new Ultra range of mouthpieces for euphonium. Initially available in only SM4U and SM3U sizes, these brand new designs are available in silver and triplethickness gold plate. Reviews for the new range have been ecstatic:

“If you liked the former Steve Mead mouthpieces you will LOVE the newly designed Denis Wick SM Ultra series!”

Aaron Tindall Besson/Buffet Crampon USA Inc. Euphonium and Tuba Artist/Clinician

“The new ultra mouthpieces are simply sensational! I fell in love with the SM3U immediately and this is what I will always use now.”

Riki McDonnell International Euphonium Soloist

“Fantastic! fantastic!! fantastic!!!”

John Starkes, Solo Euphonium, Boscombe SA Band

Denis Wick wooden mutes are often preferred by European orchestras for their special tone quality, which is very effective for the misterioso sounds needed in early 20th Century music and film scores,. Their distinctive timbre is an essential colour in every trombonist's palette. Available for alto, tenor and bass trombone.