Morceau Symphonique
Morceau Symphonique has long been a favorite with trombone soloists. Because of contrasting material the soloist has the opportunity to display excellent phrasing, tone and control. Alexandre Guilmant was one of the finest organists of his time. His compositions for organ were many and include two symphonies for organ and orchestra, eight sonatas and five sets of pieces.
Alexandre Guilmant (1837 - 1911)
Guilmant was a French organist, teacher, composer, and editor. His early and unrelenting regime of practicing and composing led him to a position as organist at age 16, and his Messe Solemnelle in F was performed just two years later. Guilmant spent much time editing and publishing works of other composers, and his own music was greatly influenced by the likes of Liszt, Schumann, Franck and Saint-Saens. He concertized throughout Europe, Britain, and America, later becoming professor of organ at the Paris Conservatory, where he taught until his death.
Most noted for his 8 organ sonatas and 2 organ symphonies, his Morceau Symphonique for trombone and piano was presumably composed as a contest piece for the Paris Conservatory. Thanks to its beautiful phrases and exciting allegro theme, it is a perennial favorite in the trombone repertoire. Lenthe has arranged this piece for trombone and brass quartet (2 trumpets, horn, & tuba), which he has also recorded on Marcophon CD 952-2.
For a complete list of his works click on the link below:
http://www.classical-composers.org/cgi-bin/ccd.cgi?comp=guilmant
Arthur Butterworth
Perhaps we should state straightaway that Arthur is in no way related to the composer George Butterworth with whom he has sometimes been confused. He was born in Manchester on 4 August 1923. On leaving school he worked in a solicitor's office for a time before joining the Royal Engineers in 1942. On demobilisation, he entered the Royal Manchester College of Music (RMCM) in 1947, studying composition with Richard Hall for two years; also trumpet and conducting. As a student of Richard Hall - before Goehr, Maxwell Davies, Birtwistle and Elgar Howarth came on the scene - he was inculcated with the ideals of the Second Viennese School but soon rejected it as not being what he wanted to say. He had already written some pieces before entering the College and his first acknowledged opus, Now on Land and Sea Descending , a setting for contralto and orchestra of 'The Vesper Hymn' by Longfellow, was one of the pieces he submitted as evidence to the RMCM that he was suitable to be taken on as a composition student. This was eventually performed at a college concert and provided Butterworth with his first experience of conducting a proper orchestra, albeit a student one.
:wink:
.......ah well
