GILLINGHAM
The idea for this recording project began with the commission of David Gillingham's Vital Signs concerto. While studying euphonium at Central Michigan University, I became acquainted with Dr. Gillingham and his compositions. I was particularly intrigued by his works for euphonium because of their lyrical melodies and the imagery evoked by his programmatic writing style. After transitioning to the bass trombone, I was happy to discover that Gillingham had also written an excellent sonata for that instrument. When the opportunity to create a new large scale work with band arose, David was the obvious choice for me. We both agreed that having a narrative program would well suit a bass trombone concerto with a large wind ensemble. We also both thought that global warming had to be its theme. Dr. Gillingham has this to say about his concerto: "The concerto is programmatic and seeks to depict the 'vital signs' of the earth as related to global warming. Each movement of the concerto portrays one of the major events: HEAT WAVE, GLACIAL RETREAT, and DELUGE. The solo bass trombone reacts to and provides commentary on each of them. The first movement, HEAT WAVE, thrusts the listener into the middle of the event with undulating waves of heat played out by conflicting half step movement and edgy clusters. The 'heat' intensifies and leads to the entrance of the solo bass trombone reacting dramatically to the intense heat with glissando followed by fast repeated descending motives. An extended development section ensues. A coda follows permeated with despair and hopelessness. GLACIAL RETREAT, the second movement, reflects the dichotomy of the awe and beauty of the glacier and the concern over the dire effects of their retreat. The first 32 measures of the movement are devoted to the beauty and grandeur of the glaciers. The ensuing section interrupts the awe and wonder of the beginning with the sound of ice cracking as simulated by the ribbon crasher and the slapstick. The final movement, DELUGE, portrays the third major effect from global warming – flooding. It opens in the middle of a heavy rainstorm. Trumpets and horns play an ominous theme under which cluster chords by the low brass and woodwinds evoke the threat of rising waters. The rising waters become much more apparent with two waves of clusters followed by two large 'walls' of water depicted by a full octave cluster in the wind ensemble. The solo bass trombone answers with the first few notes of the melody as if to call for help, but the wind ensemble interrupts and segues into a development filled with the elements of looming disaster and despair. The bass trombone and wind ensemble proceed by recalling motives and thematic material from the first and second movements as reminders of the effects of global warming. Unfortunately, help does not come and the ravages of the storm and flood continue with huge waves of sound by the ensemble leading to an emphatic statement of the main theme by the bass trombone that descends to a low Bb. This leads to eight gigantic crashes by the ensemble under which the bass trombone makes its final plea for help, but descends to the low Bb and three massive flooding clusters bring the movement to its closure." The success of this work encouraged me to record it, not only because of the music, but because of its important warning of the dangers of global warming.
GERSHWIN
The first time I learned of George Gershwin's Piano Preludes was when I heard Scott Hartman of the Empire Brass beautifully play the second movement on a recital. I liked how it fit the trombone so well that I searched out the complete score. The entire set of Preludes were arranged for violin and piano by his fiddle playing friend Jasha Heifetz. Heifetz had wanted Gershwin to compose a concerto for him, but Gershwin passed away before he could write it. Heifetz's alternative was to arrange many of Gershwin's tunes, which he played often as recital encores. The arrangement by Heifetz was the initial inspiration for my adaptation for the bass trombone.
PIERCE
Alan Pierce is a man of many talents. He is not only the former bass trombonist of the Oregon Symphony, a famous baton maker who has made batons for such venerable conductors as Bernard Haitink and Riccardo Muti. Alan is a skillful composer as well, and it struck me how supportive he was as he traveled across the country to hear my performances of his work. I asked him for his thoughts. He writes: "I am very excited that you have chosen to record my Romanza-Scherzo on your very first CD. Hanako Yamagata is a fantastic pianist and a sensitive musician-accompanist. About 20 years ago Charlie Vernon inspired and challenged me to write a piece of music with 'lots of tunes.' I labored for several years and was able to put together my Romanza-Scherzo with the help of Michael Mathew (Portland, Oregon) who is a fantastic music engraver. Charlie Reneau, bass trombonist of the Oregon Symphony, first performed my music several years later. In 2016, I met Alan Baer after a New York Philharmonic concert. I asked if he could give a copy of my music to George Curran. George contacted me several weeks later and asked if he could record my music on his upcoming CD. It was a happy day for me. I was thrilled. If George Curran wouldn't mind, I would like to re-dedicate my Romanza-Scherzo to him. When it is my turn to leave this world, I want to leave my name on a piece of music that people would find enjoyable to play. George Curran has made this wish come true."
BOURGEOIS
Derek Bourgeois has written some of the most difficult of the standard trombone repertoire, especially for the bass trombone. In addition to this piece, the bass trombone parts in the trombone quartet, the trombone trio, the solo Fantasy Pieces, and the Double Concerto for Trumpet and Bass Trombone are very difficult. His bass trombone concerto is also a work on this recording that is close to my heart. I had the honor of performing it with the United States Army Band at what was then called the Eastern Trombone Workshop in D.C. Bourgeois's compositional style is influenced by the many British brass bands of his home country, and the euphonium player in me was especially drawn to the central melody of the middle movement.
VERHELST
At the end of the disc lies the second work written for this project. It was written by Steven Verhelst, an important Dutch trombonist and prolific composer of trombone music. His writing is clear, melodic, and highlights the beauty of the trombone sound. For other samples of his music, Verhelst's newest trombone ensemble work Giants Tale is on the new STS CD "Legacy" and a performance to his duet Devil's Waltz by myself with Colin Williams is on this website under the "Listen" link. When describing the outline of this piece, Steven Verhelst uses poetic imagery: "A ray of sunlight shines down on the earth. Life is slowly waking up. The earth heats up and glows. A stunning planet begins to move… With a heartwarming melody, the bass trombone sets the color of our daily spot in the universe. A lyrical theme describes the beauty of our home: a place that breathes and lives, but also suffers. There is overpopulation, extreme beliefs, hunger, and global warming. In the second part of this piece the bass trombone melody lightly touches these topics. But it is the stunning character of planet earth that survives. Nature and humanity going together.” It's hopeful message contrasts with the dire vision from the beginning of the disc, but it is in our hands to manifest this future.
HANAKO YAMAGATA
A native of Tokyo, Japan, pianist Hanako Yamagata is currently an active teacher and instrumental accompanist in New York City. Ms. Yamagata has performed frequently with the Martha Graham Dance Company, and collaborates with varied and accomplished instrumentalists from the New York area. Ms. Yamagata is currently on the piano faculty of the Spence School and accompanying staff of the Juilliard School. Recent recitals include performances with Joseph Alessi, George Curran and Colin Williams (Principal, Associate Principal, and Bass Trombonist, New York Philharmonic, respectively) and James Markey (Bass Trombonist, Boston Symphony). CD recordings include Listening with Denson Paul Pollard and Act I with Weston Sprott, both of the Metropolitan Opera Orchestra and Psychedelia with James Markey. Ms. Yamagata has served as accompanist with The Southern Trombone Symposium (Columbus, GA) and the Joseph Alessi Trombone Summer Seminar.
SOUTHEAST TROMBONE SYMPOSIUM
The trombone section of the Atlanta Symphony Orchestra formed the Atlanta Trombone Project in 2009. Their debut recording “Roadwork” was recorded in Legacy Hall at Columbus State University in Columbus, Georgia. Colin Williams, Bill Thomas, and George Curran called on CSU’s Professor of Trombone Bradley Palmer to produce the recording. The result of this collaboration was not only a fantastic CD featuring solo and and trio work, but a partnership between these four artists that would grow into the Southeast Trombone Symposium.
The STS was first held in 2010 and has been an annual event at Columbus State University, with the exception of 2013 when CSU hosted the International Trombone Festival. The STS has grown into one of the largest and most successful trombone events in the US, and continually draws participants from top music programs in the US and abroad. Colin Williams, Bill Thomas, and George Curran have all since left the Atlanta Symphony, but still form the backbone of the STS faculty along with Bradley Palmer and current Atlanta Symphony trombonist Nathan Zgonc. The STS invites an additional guest faculty member each year, and so far this has included Tom Gibson (2010), Jay Evans (2011), Denson Paul Pollard (2012), Craig Mulcahy (2014), James Nova (2015), Brian Hecht (2016), and James Markey (2017). Together, the faculty present recitals of solo and chamber music, in addition to teaching masterclasses, private lessons, and coaching student chamber music. The faculty present two orchestral excerpts classes, one with participants sitting in the section with faculty, and another one with faculty only. Videos of STS concerts and classes have received well over one million views on the STS YouTube channel.
The final evening concert at each STS features the STS Professors Choir. In addition to performing at the STS each summer, the STS Professors Choir was featured at the 2013 International Trombone Festival. The 2016 STS Professors Choir that appears on this recording was 30 members strong, featuring artist-teachers from around the United States.
The S.E. Shires Solo Competition and Orchestral Excerpts Competition are also very popular components of the Southeast Trombone Symposium. The winner of each competition receives a new custom S.E. Shires trombone, and other sponsors provide generous prizes for the other finalists. For more information visit: www.columbusstate.edu/STS
PRODUCTION NOTES
Producer: Bradley Palmer, Jamie Nix (Verhelst)
Co-Producer: Jessica Griggs (Verhelst)
Recording Engineer: Jessica Griggs
Mic-Setup: Jessica Griggs and Andrew Markel
Pro Tools Op: Jessica Griggs, Sandi Montes, Joshua Norris, Justin Ambrozia, Nick Williams
Page-Turners: Dawid Mżyk, Brian Hall, Felix Padilla, Andrew Sellers, Jeremy Cover, Stephen Clayton
Photography and graphic design: David Finlayson
Recorded in Legacy Hall. Mixed and Mastered in the Bill and Marion Feighner Recording Studio, Schwob School of Music, Columbus State University, September 23-26, 2016.
SPECIAL THANKS
In addition to the above thanks, there are many more people that helped, either directly or indirectly, to bring this recording project to fruition. Dr. Bob Lindahl, professor of trombone at Central Michigan University, took over what was going to be a commission consortium for David Gillingham's piece to ensure it got completed. Director of bands at CMU John Williamson made sure to program the work twice, including at the Midwest Clinic in Chicago. Dr. Jamie Nix, director of bands at Columbus State University, not only produced the Verhelst work, but brought me to Columbus to perform Gillingham's concerto with the wind ensemble. Alan Carr from Peer2Records went out of his way to make sure that I was comfortable and happy with distribution. Karen Zgonc built and led me through the process of making my own website. Dr. Bradley Palmer deserves special recognition in as many places as I can give it. He has been the driving force behind making CSU a place to perform, teach, and record. His support throughout the planning of STS has been vital, and all of the recordings being produced there are due to his professionalism, vision, and hard work. And of course, I can't thank my very supportive and patient wife and daughter Katie and Kayla enough. They have been so understanding of the amount of time involved in all of these projects, and they know just how much time was spent with practice, rehearsal, recording and production.
Copyright 2017, George Curran. Peer2Records.
The idea for this recording project began with the commission of David Gillingham's Vital Signs concerto. While studying euphonium at Central Michigan University, I became acquainted with Dr. Gillingham and his compositions. I was particularly intrigued by his works for euphonium because of their lyrical melodies and the imagery evoked by his programmatic writing style. After transitioning to the bass trombone, I was happy to discover that Gillingham had also written an excellent sonata for that instrument. When the opportunity to create a new large scale work with band arose, David was the obvious choice for me. We both agreed that having a narrative program would well suit a bass trombone concerto with a large wind ensemble. We also both thought that global warming had to be its theme. Dr. Gillingham has this to say about his concerto: "The concerto is programmatic and seeks to depict the 'vital signs' of the earth as related to global warming. Each movement of the concerto portrays one of the major events: HEAT WAVE, GLACIAL RETREAT, and DELUGE. The solo bass trombone reacts to and provides commentary on each of them. The first movement, HEAT WAVE, thrusts the listener into the middle of the event with undulating waves of heat played out by conflicting half step movement and edgy clusters. The 'heat' intensifies and leads to the entrance of the solo bass trombone reacting dramatically to the intense heat with glissando followed by fast repeated descending motives. An extended development section ensues. A coda follows permeated with despair and hopelessness. GLACIAL RETREAT, the second movement, reflects the dichotomy of the awe and beauty of the glacier and the concern over the dire effects of their retreat. The first 32 measures of the movement are devoted to the beauty and grandeur of the glaciers. The ensuing section interrupts the awe and wonder of the beginning with the sound of ice cracking as simulated by the ribbon crasher and the slapstick. The final movement, DELUGE, portrays the third major effect from global warming – flooding. It opens in the middle of a heavy rainstorm. Trumpets and horns play an ominous theme under which cluster chords by the low brass and woodwinds evoke the threat of rising waters. The rising waters become much more apparent with two waves of clusters followed by two large 'walls' of water depicted by a full octave cluster in the wind ensemble. The solo bass trombone answers with the first few notes of the melody as if to call for help, but the wind ensemble interrupts and segues into a development filled with the elements of looming disaster and despair. The bass trombone and wind ensemble proceed by recalling motives and thematic material from the first and second movements as reminders of the effects of global warming. Unfortunately, help does not come and the ravages of the storm and flood continue with huge waves of sound by the ensemble leading to an emphatic statement of the main theme by the bass trombone that descends to a low Bb. This leads to eight gigantic crashes by the ensemble under which the bass trombone makes its final plea for help, but descends to the low Bb and three massive flooding clusters bring the movement to its closure." The success of this work encouraged me to record it, not only because of the music, but because of its important warning of the dangers of global warming.
GERSHWIN
The first time I learned of George Gershwin's Piano Preludes was when I heard Scott Hartman of the Empire Brass beautifully play the second movement on a recital. I liked how it fit the trombone so well that I searched out the complete score. The entire set of Preludes were arranged for violin and piano by his fiddle playing friend Jasha Heifetz. Heifetz had wanted Gershwin to compose a concerto for him, but Gershwin passed away before he could write it. Heifetz's alternative was to arrange many of Gershwin's tunes, which he played often as recital encores. The arrangement by Heifetz was the initial inspiration for my adaptation for the bass trombone.
PIERCE
Alan Pierce is a man of many talents. He is not only the former bass trombonist of the Oregon Symphony, a famous baton maker who has made batons for such venerable conductors as Bernard Haitink and Riccardo Muti. Alan is a skillful composer as well, and it struck me how supportive he was as he traveled across the country to hear my performances of his work. I asked him for his thoughts. He writes: "I am very excited that you have chosen to record my Romanza-Scherzo on your very first CD. Hanako Yamagata is a fantastic pianist and a sensitive musician-accompanist. About 20 years ago Charlie Vernon inspired and challenged me to write a piece of music with 'lots of tunes.' I labored for several years and was able to put together my Romanza-Scherzo with the help of Michael Mathew (Portland, Oregon) who is a fantastic music engraver. Charlie Reneau, bass trombonist of the Oregon Symphony, first performed my music several years later. In 2016, I met Alan Baer after a New York Philharmonic concert. I asked if he could give a copy of my music to George Curran. George contacted me several weeks later and asked if he could record my music on his upcoming CD. It was a happy day for me. I was thrilled. If George Curran wouldn't mind, I would like to re-dedicate my Romanza-Scherzo to him. When it is my turn to leave this world, I want to leave my name on a piece of music that people would find enjoyable to play. George Curran has made this wish come true."
BOURGEOIS
Derek Bourgeois has written some of the most difficult of the standard trombone repertoire, especially for the bass trombone. In addition to this piece, the bass trombone parts in the trombone quartet, the trombone trio, the solo Fantasy Pieces, and the Double Concerto for Trumpet and Bass Trombone are very difficult. His bass trombone concerto is also a work on this recording that is close to my heart. I had the honor of performing it with the United States Army Band at what was then called the Eastern Trombone Workshop in D.C. Bourgeois's compositional style is influenced by the many British brass bands of his home country, and the euphonium player in me was especially drawn to the central melody of the middle movement.
VERHELST
At the end of the disc lies the second work written for this project. It was written by Steven Verhelst, an important Dutch trombonist and prolific composer of trombone music. His writing is clear, melodic, and highlights the beauty of the trombone sound. For other samples of his music, Verhelst's newest trombone ensemble work Giants Tale is on the new STS CD "Legacy" and a performance to his duet Devil's Waltz by myself with Colin Williams is on this website under the "Listen" link. When describing the outline of this piece, Steven Verhelst uses poetic imagery: "A ray of sunlight shines down on the earth. Life is slowly waking up. The earth heats up and glows. A stunning planet begins to move… With a heartwarming melody, the bass trombone sets the color of our daily spot in the universe. A lyrical theme describes the beauty of our home: a place that breathes and lives, but also suffers. There is overpopulation, extreme beliefs, hunger, and global warming. In the second part of this piece the bass trombone melody lightly touches these topics. But it is the stunning character of planet earth that survives. Nature and humanity going together.” It's hopeful message contrasts with the dire vision from the beginning of the disc, but it is in our hands to manifest this future.
HANAKO YAMAGATA
A native of Tokyo, Japan, pianist Hanako Yamagata is currently an active teacher and instrumental accompanist in New York City. Ms. Yamagata has performed frequently with the Martha Graham Dance Company, and collaborates with varied and accomplished instrumentalists from the New York area. Ms. Yamagata is currently on the piano faculty of the Spence School and accompanying staff of the Juilliard School. Recent recitals include performances with Joseph Alessi, George Curran and Colin Williams (Principal, Associate Principal, and Bass Trombonist, New York Philharmonic, respectively) and James Markey (Bass Trombonist, Boston Symphony). CD recordings include Listening with Denson Paul Pollard and Act I with Weston Sprott, both of the Metropolitan Opera Orchestra and Psychedelia with James Markey. Ms. Yamagata has served as accompanist with The Southern Trombone Symposium (Columbus, GA) and the Joseph Alessi Trombone Summer Seminar.
SOUTHEAST TROMBONE SYMPOSIUM
The trombone section of the Atlanta Symphony Orchestra formed the Atlanta Trombone Project in 2009. Their debut recording “Roadwork” was recorded in Legacy Hall at Columbus State University in Columbus, Georgia. Colin Williams, Bill Thomas, and George Curran called on CSU’s Professor of Trombone Bradley Palmer to produce the recording. The result of this collaboration was not only a fantastic CD featuring solo and and trio work, but a partnership between these four artists that would grow into the Southeast Trombone Symposium.
The STS was first held in 2010 and has been an annual event at Columbus State University, with the exception of 2013 when CSU hosted the International Trombone Festival. The STS has grown into one of the largest and most successful trombone events in the US, and continually draws participants from top music programs in the US and abroad. Colin Williams, Bill Thomas, and George Curran have all since left the Atlanta Symphony, but still form the backbone of the STS faculty along with Bradley Palmer and current Atlanta Symphony trombonist Nathan Zgonc. The STS invites an additional guest faculty member each year, and so far this has included Tom Gibson (2010), Jay Evans (2011), Denson Paul Pollard (2012), Craig Mulcahy (2014), James Nova (2015), Brian Hecht (2016), and James Markey (2017). Together, the faculty present recitals of solo and chamber music, in addition to teaching masterclasses, private lessons, and coaching student chamber music. The faculty present two orchestral excerpts classes, one with participants sitting in the section with faculty, and another one with faculty only. Videos of STS concerts and classes have received well over one million views on the STS YouTube channel.
The final evening concert at each STS features the STS Professors Choir. In addition to performing at the STS each summer, the STS Professors Choir was featured at the 2013 International Trombone Festival. The 2016 STS Professors Choir that appears on this recording was 30 members strong, featuring artist-teachers from around the United States.
The S.E. Shires Solo Competition and Orchestral Excerpts Competition are also very popular components of the Southeast Trombone Symposium. The winner of each competition receives a new custom S.E. Shires trombone, and other sponsors provide generous prizes for the other finalists. For more information visit: www.columbusstate.edu/STS
PRODUCTION NOTES
Producer: Bradley Palmer, Jamie Nix (Verhelst)
Co-Producer: Jessica Griggs (Verhelst)
Recording Engineer: Jessica Griggs
Mic-Setup: Jessica Griggs and Andrew Markel
Pro Tools Op: Jessica Griggs, Sandi Montes, Joshua Norris, Justin Ambrozia, Nick Williams
Page-Turners: Dawid Mżyk, Brian Hall, Felix Padilla, Andrew Sellers, Jeremy Cover, Stephen Clayton
Photography and graphic design: David Finlayson
Recorded in Legacy Hall. Mixed and Mastered in the Bill and Marion Feighner Recording Studio, Schwob School of Music, Columbus State University, September 23-26, 2016.
SPECIAL THANKS
In addition to the above thanks, there are many more people that helped, either directly or indirectly, to bring this recording project to fruition. Dr. Bob Lindahl, professor of trombone at Central Michigan University, took over what was going to be a commission consortium for David Gillingham's piece to ensure it got completed. Director of bands at CMU John Williamson made sure to program the work twice, including at the Midwest Clinic in Chicago. Dr. Jamie Nix, director of bands at Columbus State University, not only produced the Verhelst work, but brought me to Columbus to perform Gillingham's concerto with the wind ensemble. Alan Carr from Peer2Records went out of his way to make sure that I was comfortable and happy with distribution. Karen Zgonc built and led me through the process of making my own website. Dr. Bradley Palmer deserves special recognition in as many places as I can give it. He has been the driving force behind making CSU a place to perform, teach, and record. His support throughout the planning of STS has been vital, and all of the recordings being produced there are due to his professionalism, vision, and hard work. And of course, I can't thank my very supportive and patient wife and daughter Katie and Kayla enough. They have been so understanding of the amount of time involved in all of these projects, and they know just how much time was spent with practice, rehearsal, recording and production.
Copyright 2017, George Curran. Peer2Records.