Resonant Renaissance is my debut solo album project, redefining the core of the trombone's repertoire. This innovative musical journey invites listeners to explore and appreciate the captivating works of underrepresented composers through the trombone's rich, resonant tones.
In this exceptional undertaking, the trombone serves as a vessel for rediscovery, revitalizing compositions that have long lingered in the shadows of classical music. With every resonant note, it unveils the brilliance and creativity of composers who, until now, have remained in the wings, awaiting their moment in the spotlight.
From Barbara York's evocative A Caged Bird to Elizabeth Raum's virtuosic Concerto for Bass Trombone, the trombone weaves a rich tapestry of emotions and melodies. Nicole Piunno's In The Secret Places poignantly explores vulnerability. Completing this musical odyssey, David Wilborn's Jazz Triptych delves into hidden realms, celebrating the vibrant diversity of jazz influences.
Resonant Renaissance celebrates the birth of these compositions as they resonate anew, echoing across time and space. This project transcends artistic boundaries, unveiling a fresh perspective on the trombone's expressive capabilities and its profound capacity to breathe life into unheard voices.
We invite you to join us on this enthralling journey as we celebrate these uncharted voices, stories, and emotions within the trombone repertoire. Resonant Renaissance promises to create an enduring impact, forever transforming our perception of the trombone's resonant beauty and the profound depth of underrepresented composers' creations.
Concerto for Bass Trombone
Elizabeth Raum
I. Allegro con fuoco
II. Romance (for Nata)
III. Moderato
A Caged Bird
Barbara York
In The Secret Places
Nicole Piunno
Richard Harris, trombone
Jazz Triptych
David Wilborn
I. Ragtime Fantasy
II. Tango Nuevo
III. Boogie
The Artists
Sterling Tanner, trombone
Margaret McDonald, piano
Richard Harris, trombone
Bill Stanley, producer
Kevin Harbison, recording engineer
Concerto for Bass Trombone
I. Allegro con fuoco
II. Romance (for Nata)
III. Moderato
Elizabeth Raum
Elizabeth Raum's Concerto for Bass Trombone is a vibrant and engaging work that has become a cornerstone of the bass trombone repertoire since its premiere in 2007. Raum, a Canadian composer with a background as a professional oboist, brings a deep understanding of orchestral color and a keen sense of musical storytelling to this concerto.
The work is structured in three movements, each offering a unique blend of technical challenges and expressive opportunities for the soloist. The first movement, Allegro con fuoco, opens with bold, rhythmic energy, establishing a lively dialogue between the soloist and the pianist. Raum's syncopation and shifting meters add to the movement's dynamism, requiring the soloist to navigate intricate passages with agility and precision.
The second movement, Romance (for Nata), provides a stark contrast, showcasing the bass trombone's lyrical capabilities. This movement is marked by its lush, melodic lines and rich harmonic textures, allowing the soloist to explore the instrument's full range of expressive possibilities. Raum's writing here is both reflective and expansive, creating a sense of calm and introspection.
The final movement, Vivace, is a spirited and rhythmic tour de force. It demands virtuosity from the soloist, with rapid passages, technical flourishes, and intricate interactions with the orchestra. The movement is characterized by its playful energy and lively character, bringing the concerto to a thrilling and exuberant conclusion.
Elizabeth Raum's Concerto for Bass Trombone stands out not only for its technical demands but also for its ability to showcase the bass trombone's versatility. This concerto highlights the instrument's unique voice within the orchestral palette, from its powerful, resonant low register to its unexpectedly lyrical and agile upper register.
Additional information about Elizabeth Raum and this piece can be found on her website.
A Caged Bird
Barbara York
Barbara York's A Caged Bird for tenor trombone and piano is a deeply evocative work that explores confinement, longing, and the desire for freedom. Composed in 2014, it has quickly gained recognition for its emotional depth and for showcasing the trombone's expressive capabilities.
The title suggests the work's central metaphor: a bird trapped within a cage, yearning for the open sky. This image powerfully symbolizes the music's exploration of themes like restriction, loss, and the innate human desire to break free from limitations.
The piece begins with a slow, mournful introduction, where the trombone's dark, rich tone sets the stage for a poignant narrative. The piano provides a delicate, almost tentative accompaniment, evoking the image of a bird cautiously testing its confines. York's writing in this section allows the trombone to sing with a lyrical intensity, using its full range to express a sense of melancholy and introspection.
As the piece progresses, the music intensifies, and the trombone's lines become more impassioned and urgent. The piano, too, becomes more forceful, reflecting the growing frustration and desire for release. York skillfully uses dynamics and pacing to create a sense of struggle as the music alternates between moments of hope and despair, capturing the emotional turbulence of a bird longing to be free.
The climax of the piece features a soaring melody in the trombone, symbolizing the bird's attempt to break free from its cage. This section is powerful and moving, with the trombone reaching into its upper register to express determination and yearning. The piano's accompaniment during this passage is more expansive as if the cage is gradually opening.
In the context of Resonant Renaissance, Barbara York's A Caged Bird serves as a poignant symbol of the project's mission to bring to light the voices of underrepresented composers. Just as the caged bird in York's piece yearns for freedom and expression, so too have these compositions been confined to the margins of the classical repertoire, awaiting their moment to soar. Through this project, A Caged Bird becomes a metaphor for the liberation and rediscovery of these powerful yet overlooked musical narratives, allowing them to finally resonate with the full breadth of their emotional and artistic significance.
Additional information about Barbara York and this piece can be found on her website.
In the Secret Places
Nicole Piunno
Nicole Piunno’s In the Secret Places for tenor trombone, bass trombone, and piano is a profoundly reflective work that delves into the hidden emotions and thoughts that often remain unspoken. Composed in 2016, this piece explores vulnerability and introspection through a dialogue between the two trombones, with the piano acting as a reflective counterpart.
The contrasting voices of the tenor and bass trombones symbolize the duality of our inner world—light and shadow, strength and fragility—while the piano weaves a delicate, supportive texture. The music moves between moments of intense emotion and quieter, more contemplative passages, capturing the complexity of the human experience.
In the Secret Places invites listeners to explore the nuanced, often concealed aspects of our emotional lives, making it a poignant and thought-provoking addition to the trombone repertoire.
Additional information about Nicole Piunno and this piece can be found on her website.
Jazz Triptych
I. Ragtime Fantasy
II. Tango Nuevo
III. Boogie
David Wilborn
David Wilborn's Jazz Triptych was commissioned by the English bass trombonist Jonathan Warburton in 2014. This work presents three distinct jazz styles in a concert format for bass trombone and piano. Each movement reflects the unique characteristics and rhythms of a particular jazz genre. Although originally composed, each movement pays homage to the influential jazz masters who popularized these styles.
In a figurative sense, the composer imagines strolling with each historical figure to better understand their musical approach. The result is a blend of compositional techniques where the composer's and the jazz masters' personalities shine through. This fusion combines jazz and classical elements, featuring ragtime, tango, and boogie.
I. Ragtime Fantasy takes a walk with Scott Joplin and Willie "The Lion" Smith. It showcases Joplin's melodic and lyrical ragtime style alongside Smith's rhythmic and technical stride style. Starting with a syncopated classical introduction, the movement transitions into a two-step dance theme, with the piano adopting Smith's stride style. The music explores various ragtime moods, including a "Slow Drag" section where the soloist is encouraged to improvise, evoking a sultry barroom scene. The movement concludes with a recap of themes and a lively two-step coda.
II. Tango Nuevo is inspired by Ástor Piazzolla, who revolutionized tango by incorporating jazz elements. It reflects Piazzolla's signature dissonant harmonies, walking bass lines, and rhythmic pulses, capturing the essence of his innovative tango compositions.
III. Boogie channels Fats Waller's energetic dance style. The piano drives the piece with a classic boogie bass line, while the trombone and piano showcase technical elements characteristic of Waller's boogie style. The energy dips briefly with a blues passage before resuming the boogie groove, culminating in a virtuosic trombone cadenza and a jazz ending reminiscent of Count Basie's style.
Additional information about David Wilborn and this piece can be found on his website.
Thank you!
I express my deepest gratitude to everyone who made this project possible. First, a huge thank you to Margaret McDonald for her extraordinary dedication and invaluable artistry. Her performance has truly brought each piece to life with exceptional skill and passion.
I also extend my heartfelt thanks to recording engineer Kevin Harbison. His expertise and tireless efforts in capturing the resonant sounds have made this album a reality. A big shoutout to producer Bill Stanley, whose meticulous attention to detail ensured we captured the best takes and brought a polished edge to the project.
Richard Harris, your warm welcome to Colorado and willingness to collaborate on this special project have been deeply appreciated. Your personal support and collaboration have been crucial to the success of this endeavor.
The generous grant and unwavering support from the Center of Arts and Humanities at the University of Colorado Boulder have been instrumental in bringing this project to fruition. Their contribution has made it possible and significantly enhanced its quality and reach.
I also want to acknowledge and thank my former trombone teachers, Dr. Bradley Palmer and Dr. Nathaniel Brickens, whose guidance and mentorship have greatly influenced my work. I must also express my profound appreciation to my wife, Cecilia Tanner, whose unwavering love and support push me to improve daily.
Thank you all for your incredible contributions and for helping to bring this project to life.
