Thom Ritter George

SONATA FOR TROMBONE AND PIANO, CN 292 (1977)

PROGRAM NOTES

Thom Ritter George's SONATA FOR TROMBONE AND PIANO is the summation of the composer's long interest in writing trombone music.  Dr. George has made many arrangements and original pieces for trombone ensemble; his contributions to the solo repertoire include CONCERTO GROSSO NO. 3 (1963), a work for tenor trombone and strings, and CONCERTO FOR BASS TROMBONE AND ORCHESTRA (1964).

In Summer 1977, Dr. George turned to the trombone again and completed his SONATA FOR TROMBONE AND PIANO.  The work has four movements: "Precipitando," Song of the Sirens ("Adagio molto e misterioso"), Scherzo ("Vivace scherzando"), and Apotheosis ("Largo").  So that the music can be played without pause, a recurring interlude is placed between movements.  The musical material of the interludes is much more than a convenient transition; rather, it is transformed into the core theme of the Apotheosis and, in doing so, brings the SONATA into a tight thematic cohesion.

The prevailing mood of the opening movement is that of virtuosity and jocular high spirits.  The second movement, Song of the Sirens, is a great contrast to the first.  It draws inspiration from an ancient Greek story told by Homer in The Odyssey.  Ulysses, on travels aboard his ship, approached the island where the sirens lived.  He knew that the sirens' bewitching song lured sailors to approach the island too closely and crash their ships upon the rocks.  Yet, Ulysses was determined to hear their singing.  He had his sailors stop up their ears with beeswax.  Then, he had them lash him to the mast of the ship.  Of course, his ears were open and he did indeed hear the song.  In the SONATA, the slow, hypnotic siren song is played by the muted trombone.  The piano part contains lighter, more fragmentary figures, suggesting the play of the water and sea breezes.
The music is hushed, suave, and alluring.

The scherzo is a piece of great dexterity in which speed and precision are of the highest importance.  The Apotheosis ends the SONATA by invoking the sound of the trombone as it has been used throughout classical Western music literature.  Here the composer strives to present the very essence of the instrument - noble, full-voiced, fatherly and direct.

The SONATA calls for trombone and piano performers with advanced technical abilities.  Since the composition is continuous, the trombonist must take special care to harbor his endurance when playing the music.
 

(TRGcm:1978.04.29; rev. 2009.01.12)
Quincy, Illinois / rev. Pocatello, Idaho