Search - Christopher Rouse, Carlos [1] Chavez, Augusta Read Thomas :: American Trombone Concertos, Vol. 2

Inspired concertos of a one-time neglected brass sackbut

Rachel Abbinanti (tusai1@aol.com) | Chicago | 06/06/1999

(5 out of 5 stars)

"The Trombone has come of age of itself. Time was it inhabited the backwalls of the orchestra to sit tirelessly counting rests. Slowly we have pieces now for solo trombone, in fact there is an entire repertoire which Lindberg has recorded vigorously. The Rouse concerto casts something similar to his "First Symphony" with bursting lyricism of strings screeching in the stratosphere,with thick impenetrable lower strings. The odd mimicking of ideas is slightly humorous. A direct imitation is quite innocent yet filled with high energy,even jazzy in gesture at times. Rouse knows how to build momentum,but I think it is not enough all the time or not well paced With this large gestural scope the Rouse requires a possessed performer at minimum. Augusta Read Thomas has an original voice here. Her music displays well crafted lyricism,lapidiarian like with well balanced chordal sonorities,knowing how to mix and blend strings and winds. She is less informed in her use of percussion. She knows brass well, she played trumpet once,but here the trombone has a story to tell, one of elegant lyricism,meaning her music transcends the instruments obvious historical baggage of relative arrogance heaviness and clumsiness. She knows how to shape her solo accomplice into the fabric of the orchestra. The Chavez as well is a good example of this neglected composer. And Lindberg knocks the hell out of anything he blows. He can also be senstitive as well to the metaphysical voice contained within each work"

Three knockouts by a trombone heavyweight

Rachel Abbinanti (tusai1@aol.com) | 04/13/1999

(5 out of 5 stars)

"Read Thomas is someone who has found a unique voice. She is elegantly ugly at times, and evocative without knowing. But there is an intense transparent lyricism which runs through all her music. She glides and lilts her way through her well thought-out pieces not bothering to write so that everyone in the orchestra plays. She for instance downsizes the lower voices, something I find fascinating. Here the trombone solo is music it has been wanting to play all its life,so neglected and pigeon-holed as a clumbsy clown. But not here, Read Thomas reestablishes its grandeur and dignity. So does Rouse but in an ever more gut-wrenching way. I feel the presence of his "First Symphony" here the "Adagio" the darkly packed lower voices there and here again served him well with high-tension violin melos.Dedicated to Bernstein a friend, the piece has an obvious miniature requiem-like feel. But things do get jazzy,huffy with Lindberg teasing and tempting the orchestra to mimic him and does a few times. A funny bit I guess proclaiming Lenny's self-consciousness. Chavez to we hardly hear or know, but this is a well constructed work with again the lyricism the trombone has been begging for and needs."