Sonata for Trombone and Piano by George Frederick McKay

Review by: Roger Smith

Notes, Second Series, Vol. 9, No. 4 (Sep., 1952), pp. 662-663
Published by: Music Library Association
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 version of twelve-tone technique, using
a single tone-series (G, A, Gb, F, Eb, E,
Bb, B, C, C#, D, Ab) which is, as one
sees, rather full of semitones. Close-knit,
tone-clusterish chords, built on the row,
provide, as in the Music for Brass Choir,
admirable contrast to vigorous unison
passages blown at full force. The work
is formally and structurally simple, an
excellent first example of Riegger's work
for study and analysis in the classroom
or in connection with performance. All
college and conservatory departments hav-
ing nine capable players (and they must
be capable, for the piece is fairly diffi-
cult) should attempt performance of
this notable addition to brass literature;
in any event, the score should be made
available for study, should adequate per-
formance prove impossible.
The pieces by Paul Pisk, Homer Keller
and Alexander Tcherepnin vary consider-
ably in character. All are good and all
are "practical." Dr. Pisk's "Shanty-Boy,"
for oboe (or violin or clarinet) and
strings (or piano) is the kind of all-
purpose music that lacks brilliant dis-
play opportunities for the virtuoso instru-
mentalist, but suggests profitable and
pleasurable opportunity for the moder-
ately gifted amateur or student recitalist.
The tune is presented simply, and the solo
part is not taxing. The top note is B,
and the general range is rather low.
The piano (or string) accompaniment is
discreet and well-designed; the writing,
musical but without complexities, is that
of a thoroughly skillful composer.
Homer Keller's Five Pieces for Clarinet
and Bassoon are all direct and well-
made little pieces, of moderate difficulty
and varied character; they should be fun
for fairly advanced players and should be
well received at school concerts. The
idiom is mildly dissonant, with clear
tonalities; the counterpoint is neat and
well-practiced, although melodic lines oc-
casionally seem a shade stiff.
The Tcherepnin Trio (for 3 trumpets
or 3 clarinets) is the simplest of the
works under review, and can be con-
sidered only as adequate, though undis-
tinguished, material for the training of
student players. As is inevitable with
662
trumpet trios, the third part lingers much
of the time on the low notes that amateur
trumpet players (and some professionals)
cannot seem to play in tune or with any-
thing resembling a decent tone. But of
course exercises such as these pieces
must be used in the hopes of remedying
technical and musical deficiencies. Tcher-
epnin's Trio is in three short move-
ments: Andantino, 4/4; Vivace, 7/4 (a
good training piece); and Alla Breve.
The piece was probably designed for
trumpets, with the clarinets as an after-
thought.
RICHARD FRANKO GOLDMAN
Boris Asafiev: Sonata for Trumpet and
Piano. New York: Leeds Music Corpor-
ation, 1951. [Score, 27 p., and part, 8 p.,
$2.00]
The Sonata for Trumpet and Piano by
Boris Asafiev is sub-titled "In Modo
Classico" which should be sufficient de-
scription of the style of composition.
It is in four movements: Allegro, Adagio,
Scherzo, and Sarabande. Actually the
music is far from Classic in overall style.
Whereas each movement begins in a pre-
dictable manner, only the Scherzo carries
a "modo classico" through consistently.
The other three movements proceed to
develop in more of a romantic vein than a
so-called Classic style would allow. What-
ever the proper analysis of the style of
this Sonata, it should prove to be interest-
ing to its performers. It is moderately
difficult, but not too much so for the
average good trumpeter.
George Frederick McKay: Sonata for
Trombone and Piano.
(Contemporary
Works for Brass Instruments). New York:
Remick Music Corporation, 1951. [Score,
18 p., and part, 6 p., $2.50]
Another release in the series of works
for brass instruments commissioned by
the National Association of Schools of
Music is the Sonata for Trombone and
Piano by George F. McKay. This is a
true virtuoso piece for trombone. It is
constructed in three contrasting move-
ments and presents an arduous task to
any trombonist attempting its perform-
ance. All the various difficulties of the
instrument are presented, making this a
valuable work for study but an ungrate-
ful one for public use. The piano part
is not as difficult as the trombone part;
it consists largely of unison and octave
passages used as contrast to the move-
ment of the trombone. This sonata is
unnecessarily difficult, however challeng-
ing and interesting it may be to the
player.
Eino Olander: First Suite for Four
Trombones. Edited by Harold Ferguson.
New York: G. Schirmer, 1951. [Trombone
I and contracted score, 7 p., and other
parts, $1.75]
Original music for four trombones is
an unusual item at any time, but a wel-
come one, and this Suite will be a useful
addition to the teaching and program
material of our schools. It is in four
movements, the first three are chorales,
the last is a march-type Finale. The
range of all the parts is playable by ele-
mentary or intermediate students; the
whole structure of the Suite seems to be
designed for their use. This fact should
not discourage more advanced players;
at any level these pieces will prove in-
teresting and profitable.
Nicolas Rimsky-Korsakov: Concerto for
Trombone and Band. Reduction for
trombone and piano. Edited with special
annotations by Davis Shuman. New
York: Leeds Music Corp., 1952. [Score,
20 p., and part, 6 p., $2.50]
The Rimsky-Korsakov Concerto for
Trombone and Band has finally been
made available to us by Leeds Music
Corporation. The present edition is with
piano reduction of the band score, but
the full score and parts will be available
this fall. As an addition to the very
limited repertoire for the trombone, it
will be a very useful publication. As an
example of the genius of Rimsky-
Korsakov it leaves much to be desired.
The first movement is martial, fanfare-
like, built on arpeggios in triplet rhythms.
The second movement is a rather pretty
song in six-eight, ending with a cadenza
which leads directly into the last move-
ment, the only part of the Concerto which
contains any of the typical Rimsky-
Korsakov flavor. Another long cadenza
closes the Concerto.
663
The piano reduction is well done, and
not too difficult to perform. The editing
of the trombone part consists almost en-
tirely of transposing phrases up or down
an octave. A few phrase markings have
been changed and the final cadenza has
been rewritten and extended both in
length and range. For those who prefer
to perform the Concerto as originally
written, the octave markings can be
ignored, and it is hoped that both the
original and the new cadenzas will be
included in the full score publication of
a later date.
Circle Records has recently issued an
LP disc (L-51-103) which includes a
performance of the Concerto with Shu-
man playing the solo part.
Burnet C. Tuthill: Sonata for B flat
Trumpetand Piano, Op. 29. (Contempor-
ary Works for Brass Instruments). New
York: Remick Music Corp., 1951. [Score,
23 p., and part, 7 p., $2.50]
This is the latest of the works for
Brass instruments commissioned by the
National Association of Schools of Music.
The Sonata follows the accustomed pat-
tern for works of this type-three move-
ments: Allegro, Andante, Rondo. The
first movement stresses the interval of
the fourth used melodically and offers
good contrast between themes. The sec-
ond movement is in five-four and five-
eight time but presents no problems
other than the rhythm itself. The closing
Rondo is a bright three-four movement
requiring considerable skill in tonguing.
This is not a piece for casual trumpeters,
but will provide considerable satisfaction
and pleasure to those who give it the
study it requires. The piano part equals
the trumpet part in difficulty-it is never
unplayable, but it does demand study.
The National Association of Schools of
Music is to be congratulated for commis-
sioning these contemporary works. By
such commissions they are not only inter-
esting serious composers in the much-
neglected field of "educational" music,
but are enabling young students to be-
come acquainted with contemporary
idioms in composition at an earlier stage
in their musical development.
ROGERSMITH