BEING A CONCERT TROMBONE SOLOIST Published in BRASS BULLETIN NUMBER 93 1/1996, used with permission. Copyright 1996 by BRASS BULLETIN P.O. Box 576 CH-1630 Bulle 1 Switzerland Phone (41) (0)26 912 44 22 Fax (41) (0) 26 912 13 50 e-mail: brassbulletin@bluewin.ch web: www.brass-bulletin.ch Having recently returned from serving on the jury at the prestigious Munich International Music Competition, I would like to take this opportunity to reflect on the progress of the trombone as a concert solo instrument. Personal Reflections As a young person in the United States, somehow captivated by playing the trombone, I wondered where it would take me. I enjoyed the chance to play solos with my high school band. My university teacher, Ernest Glover, had been a band soloist with the Armco Band, with Frank Simon, but, with the exception of the military, such jobs had disappeared by the middle of this century, and all the best players were vying for orchestra jobs. Orchestra positions are the best paying and most prestigious full time classical music performance jobs for trombonists in the USA. It is my good fortune to have had one of these positions for twenty-five years, but like so many of my Boston Symphony colleagues, I find it most beneficial to balance my musical life with performances outside of the orchestra, often times as a trombone soloist. So, as I return after hearing 72 young trombonists compete in Munich, I wondered how our musical society will accept their soloistic ambitions. To my mind, there are at least two factors of influence today which were not present when I began my life with trombone. First, there are very fine artists who have chosen to pursue life as concert solo trombonists. Secondly, there are recordings by them, and others. Young persons, no matter where they happen to live, can hear the best, compare their playing and more broadly form their own concepts. What trombone solo recordings had been done in the 1950's were almost impossible to find, and had very limited marketing. One could argue that this is still the case, but to contrast the availability of Davis Shuman's recordings when they were new to those of Christian Lindberg's today, would show that things have changed. Edward Bahr, recording editor for the International Trombone Association Journal, tells me that the journal has reviewed 150 concert solo recordings since 1975, and that at least 14 more await review. With all these recordings, and the visibility of concert artists such as Lindberg and Alain Trudel (to name only two) where are we going? The trombone is a tool for human expression Trombonists are as individual and artistic as any other group of instrumentalists. Since our employment is essentially as ensemble players, our training does not usually emphasize our individual personalities, as might be the case for a pianist, violinist, or vocalist. Our repertoire also pales when compared to these groups. However, like all brass players, trombonists search out fine music to perform, whatever its original form. To hear the artistry of the young players in Munich when they performed the newer repertoire for trombone, one must be very encouraged. To me, the future looks bright! It seems only a matter of time before today's or tomorrow's composers will give us repertoire which will gain more universal respect. The way the trombone is being used is more diversified than ever. The demands on today's players are wider than ever, and the number of quality artists greater than ever. Competitions such as the Munich provide great motivation and opportunity for trombonists. We are grateful to be included periodically in this search to help young talent. Though there has never been a first prize winner, the Munich competition has inspired the careers of the thirteen who have won prizes and gone on to become leaders in the trombone community worldwide. It has also added greatly to the advancement of the 197 others who have taken on the challenge to compete. One hopes the competition will recognize this valuable contribution it has made since 1965, and that the opportunity will continue. To continue to advance the case for the trombone as a concert solo instrument, we, as trombonists, must assert ourselves as performers, show what is possible, and convert those who have traditionally given the instrument little solo respect. The trombone is as valuable a tool for human expression as any other musical instrument. The possibilities are yet to be fully exploited. It seems to me a golden age of opportunity.

BEING A CONCERT TROMBONE SOLOIST

Published in BRASS BULLETIN NUMBER 93 1/1996, used with permission.

P.O. Box 576 CH-1630 Bulle 1 Switzerland

Phone (41) (0)26 912 44 22 Fax (41) (0) 26 912 13 50

Having recently returned from serving on the jury at the prestigious Munich International Music Competition, I would like to take this opportunity to reflect on the progress of the trombone as a concert solo instrument.

Personal Reflections

As a young person in the United States, somehow captivated by playing the trombone, I wondered where it would take me. I enjoyed the chance to play solos with my high school band. My university teacher, Ernest Glover, had been a band soloist with the Armco Band, with Frank Simon, but, with the exception of the military, such jobs had disappeared by the middle of this century, and all the best players were vying for orchestra jobs. Orchestra positions are the best paying and most prestigious full time classical music performance jobs for trombonists in the USA. It is my good fortune to have had one of these positions for twenty-five years, but like so many of my Boston Symphony colleagues, I find it most beneficial to balance my musical life with performances outside of the orchestra, often times as a trombone soloist.

So, as I return after hearing 72 young trombonists compete in Munich, I wondered how our musical society will accept their soloistic ambitions. To my mind, there are at least two factors of influence today which were not present when I began my life with trombone. First, there are very fine artists who have chosen to pursue life as concert solo trombonists. Secondly, there are recordings by them, and others. Young persons, no matter where they happen to live, can hear the best, compare their playing and more broadly form their own concepts. What trombone solo recordings had been done in the 1950's were almost impossible to find, and had very limited marketing. One could argue that this is still the case, but to contrast the availability of Davis Shuman's recordings when they were new to those of Christian Lindberg's today, would show that things have changed. Edward Bahr, recording editor for the International Trombone Association Journal, tells me that the journal has reviewed 150 concert solo recordings since 1975, and that at least 14 more await review. With all these recordings, and the visibility of concert artists such as Lindberg and Alain Trudel (to name only two) where are we going?

The trombone is a tool for human expression

Trombonists are as individual and artistic as any other group of instrumentalists. Since our employment is essentially as ensemble players, our training does not usually emphasize our individual personalities, as might be the case for a pianist, violinist, or vocalist. Our repertoire also pales when compared to these groups. However, like all brass players, trombonists search out fine music to perform, whatever its original form. To hear the artistry of the young players in Munich when they performed the newer repertoire for trombone, one must be very encouraged. To me, the future looks bright! It seems only a matter of time before today's or tomorrow's composers will give us repertoire which will gain more universal respect. The way the trombone is being used is more diversified than ever. The demands on today's players are wider than ever, and the number of quality artists greater than ever. Competitions such as the Munich provide great motivation and opportunity for trombonists. We are grateful to be included periodically in this search to help young talent. Though there has never been a first prize winner, the Munich competition has inspired the careers of the thirteen who have won prizes and gone on to become leaders in the trombone community worldwide. It has also added greatly to the advancement of the 197 others who have taken on the challenge to compete. One hopes the competition will recognize this valuable contribution it has made since 1965, and that the opportunity will continue. To continue to advance the case for the trombone as a concert solo instrument, we, as trombonists, must assert ourselves as performers, show what is possible, and convert those who have traditionally given the instrument little solo respect. The trombone is as valuable a tool for human expression as any other musical instrument. The possibilities are yet to be fully exploited. It seems to me a golden age of opportunity.