1. |
||||
|
This piece was written in 1954 for Mr. Gabriel Masson (soloist at the Paris Opera). The first dance Danse Sacrée is a slow “rumbato“ melody, with long flowing phrases moving from one point to another, in direct contrast to the second dance, Danse Profane, based on the lively rhythm of a samba, ending brilliantly and energetically.
Music by Jean-Michel DEFAYE © Alphonse Leduc Éditions Musicales, Paris.
Arrangement for trombone and wind quintet and percussion, by Vincent Harnois.
With the kind permission of Alphonse Leduc Éditions Musicales, Paris.
|
||||
2. |
||||
|
This piece was written in 1954 for Mr. Gabriel Masson (soloist at the Paris Opera). The first dance Danse Sacrée is a slow “rumbato“ melody, with long flowing phrases moving from one point to another, in direct contrast to the second dance, Danse Profane, based on the lively rhythm of a samba, ending brilliantly and energetically.
Music by Jean-Michel DEFAYE © Alphonse Leduc Éditions Musicales, Paris.
Arrangement for trombone and wind quintet and percussion, by Vincent Harnois.
With the kind permission of Alphonse Leduc Éditions Musicales, Paris.
|
||||
3. |
FD - Per il mio cuore
06:57
|
|||
|
The music composed for this poem evokes the “nostalgic voices“ present throughout the text. The first stanza is marked by a haunting trombone accompaniment figure, based on fourth intervals, against the backdrop of the soprano voice’s melancholy and melodious singing, which attempts to “reach for the sky“. A short accelerando transition leads into the second stanza, a fast movement written in free counterpoint with two voices chasing each other like the “eternal wave“. The voice falls silent, giving way to a cadenza of the trombone alone, the musical counterpart of this elusive wave, which seeks a way out in the face of the profusion of notes. This is reached in the third stanza, at the beginning of which the soprano abruptly interrupts the trombone’s breathless speech. A luminous recitative appears, as if out of time, out of all reality. The voice is lost, solitary. All that remains is a breath. A sober and regular ostinato accompanies the last stanza, like a sinister metronome. The melody is long and sad, expressionless. As the music becomes more and more intense, the voice is suddenly naked and alone, evoking the “awakening“ of a lonely soul. Then a second, macabre ostinato serves as a backdrop for the poem’s final phrase: the “sleeping birds“ go away, peacefully. The piece ends with a reminiscence of the trombone accompaniment figure heard in the first stanza, sung by the soprano in innocent candour, in stark contrast to the heavy, bitter mood of the final section.
|
||||
4. |
||||
|
“In writing this piece, I have tried to highlight the many qualities of the
trombone. What stands out in the first movement is the amusing, almost ironic character of the instrument, accentuated by the glissando parts; on the other hand, the second theme is full of melancholy and passion. In the second movement, a deeply dramatic melody emerges from stillness, contrasting with a lighter, airy and hopeful second theme. The whimsical element returns in the third movement, initially resembling a folk song; then the theme of the second movement appears, followed by a large, joyful final theme. To express all these nuances, Concertone requires a technical and musical performance by the soloist, while the group counterpoint serves to highlight the rich colors and dynamics of the piece”. Corrado Maria Saglietti
|
||||
5. |
||||
|
“In writing this piece, I have tried to highlight the many qualities of the
trombone. What stands out in the first movement is the amusing, almost ironic character of the instrument, accentuated by the glissando parts; on the other hand, the second theme is full of melancholy and passion. In the second movement, a deeply dramatic melody emerges from stillness, contrasting with a lighter, airy and hopeful second theme. The whimsical element returns in the third movement, initially resembling a folk song; then the theme of the second movement appears, followed by a large, joyful final theme. To express all these nuances, Concertone requires a technical and musical performance by the soloist, while the group counterpoint serves to highlight the rich colors and dynamics of the piece”. Corrado Maria Saglietti
|
||||
6. |
||||
|
“In writing this piece, I have tried to highlight the many qualities of the
trombone. What stands out in the first movement is the amusing, almost ironic character of the instrument, accentuated by the glissando parts; on the other hand, the second theme is full of melancholy and passion. In the second movement, a deeply dramatic melody emerges from stillness, contrasting with a lighter, airy and hopeful second theme. The whimsical element returns in the third movement, initially resembling a folk song; then the theme of the second movement appears, followed by a large, joyful final theme. To express all these nuances, Concertone requires a technical and musical performance by the soloist, while the group counterpoint serves to highlight the rich colors and dynamics of the piece”. Corrado Maria Saglietti
|
||||
7. |
FD - Portrait
05:20
|
|||
|
“Portrait“ evokes the history, experience, testimonies, and the sparkling spirit of a father entrusted to the composer by his son. The performance of the trombone is a mark of affection, vigorous and lively, we discover the similarities of father and son.
|
||||
8. |
FD - Tromtchi
05:29
|
|||
|
This popularly inspired composition represents an idea of travel from India
to the West. The word “Trom“ refers to all brass instruments from the West. Tromtchi is the player of Trom. During this journey musicians of different origins meet each other and try to create. In this piece, jazz rubs shoulders with Balkan rhythm and a Persian-inspired melody, with the trombone as the main storyteller.
|
||||
9. |
FD - Umat
04:18
|
|||
|
Umat is a piece with shaded hues, such as those that nature offers us during a sunset on the coast of Gallipoli, towards the end of the summer. The warm and present timbre of the trombone, during a contrasting soundscape between the jazz trio and the string quartet, is meant to be an allegory of the heart and mind of a man who, while grappling with the frenzy of daily life, is still able to dream, balancing between memories of a past forever gone and hopes for a peaceful future.
|
||||
10. |
FD - Pièce en mi bémol
06:56
|
|||
|
Considered one of the most difficult works in the repertoire for solo trombone, this Piece in E flat minor by Joseph-Guy Ropartz is a mixture of romantic and impressionistic influences and requires a great deal of stamina.
Music by Guy ROPARTZ © Alphonse Leduc Éditions Musicales, Paris.
Transcription for trombone and organ of the original version for trombone and piano.
With the kind permission of Alphonse Leduc Éditions Musicales, Paris.
|
||||
11. |
FD - Méditation (Thaïs)
05:19
|
|||
|
Méditation is an intermezzo from the opera Thaïs, composed between
April and July 1892 by Jules Massenet and based on the eponymous novel by Anatole France (1890), which premiered at the Opéra Garnier in Paris on March 16, 1894. This piece is a religious meditation, at the beginning of Act II, very often played as a work, for the violin solo. It corresponds to a time of reflection by Thaïs, a famous courtesan devoted to the cult of Venus in Alexandria during the Byzantine period, then prey to doubts about her life of lust and pleasure, and who contemplates finding her salvation in God.
|
||||
D'Urso Francesco Switzerland
Francesco D’Urso is a versatile musician, active both as an orchestral musician and as principal trombone of the Geneva Chamber Orchestra since October 2016, as well as in chamber music, creating performances and collaborating with other artistic disciplines. ... more
D'Urso Francesco recommends:
Sueño el Sur
by Duo Bulgarelli D'Urso
This unique duo offers a compelling program with an array of rhythms & colors. Major South American composers and contemporary creators come together in a poetic and bewitching universe. Be surprised!
go to albumIf you like PARADISE BONE, you may also like:
On Mizrahi's sophomore album of solo piano works, he ably performs works by Sarah Kirkland Snider, Troy Herion, Mark Dancigers etc.
go to album
Thinking of Blue Almonds Part One
by Lou Lyne & the Blue Almond Project
Somber, beautiful string meditations abound on the debut album by Oxford cellist and composer Lou Lyne and her ensemble.
go to album
Conversations in Ritual
by Balladeste
This new album from the contemporary classical duo was completely improvised.
go to album
Imprints 1 & 2
by Simeon Walker
These almost heartbreakingly gentle felted piano compositions have the delicacy and loveliness of slow-falling snow.
go to album
On her debut LP, the cellist captures both the turbulence and the euphoria of transformational times.
go to album
