Last updated: August 6, 12:24 AM CDT

Daily Notes

Chris Branagan provides the following review of Wednesday evening's activities.

Wednesday Evening

The Alessi Seminar participants split up into quartets for coaching sessions with Joe and Peter Ellefson. These sessions occurred simultaneously in two rooms in the performing arts center, so I took time to hear one group working with each coach. Below are some notes from the coaching sessions.

7:30 PM

Chris: The first quartet to perform in Pete's session was the group featuring Louis Fred, James Scott, Jon Whitacker, and Andrew Chappell performing Eugene Bozza's Trois Pieces.

• Peter's first comments dealt with the seating arrangement, as the tenor trombonists would be rotating on the first part. Because they were switching parts within the same piece, Peter suggested that they not change seats.
• It was suggested to the group to play through the entire work to see for how it will feel on the performance.
• The group performed the entire piece exceptionally well. The sound was rich and even from player to player, and they tackled the intricate nature of the outer movements with confidence.
• Peter encouraged them to experiment with an accelerando in the middle of the first movement (rather than the subito Tempo Primo). The change seemed to help to connect the to two sections of the movement.
• In the second half of the movement, the staggered entrances need to be heard. Once each person plays his entrance, he should get out of the way to allow the other entrances to be heard.
• The two accented notes should really jump out of nowhere in an aggressive way.
• In the rallentando at the end of the movement, Peter encouraged Jon (playing third) to play his final moving line very long. He also suggested the last two notes in the second part (played by James Scott) keep moving forward, so as not to drag the end of the movement to a hault.
• In the second movement of the piece, the opening chords need to be bang-on in tune right from the start. Peter had the players try the opening a few times to adjust the balance and intonation.
• Peter also spent some time discuss the pulse in this movement. He commented that he, like everybody else, learned to play this movement slow, but that doesn’t mean you can't find some a few places to move things along.
• Another important point to consider in this movement is that the melody must always be heard.

Chris: This quartet did an outstanding job preparing this piece for the Seminar. No matter the difficulties in the writing, each part was rock solid and musically sensitive.

9:00 PM

Chris: While Pete was working with two participant quartets in the Rehearsal Room, Joe worked with the remaining quartets on stage in the recital hall. Here are some notes from the final quartet of the evening (Barry Hearn, Sam Barlow, Jon Lombardo, and Harold Van Schaik). This group performed Debussy's Trois Chansons.

Chanson No. 1

Joe: Okay, it's not quite gelling. It sounds like four individual trombone players, not one ensemble. The approach on this piece needs to be tentative (in style), smooth, and singing. This is a great piece to really show off your releases as an ensemble. As an exercise, try playing the first chord with your eyes closed, all of you. Barry (playing lead), you make the breath very obvious so that everyone knows when to come in, then everyone else listens to Barry to hear where he tapers off the release.

Chris: The group tried this a few times, and it made a remarkable difference. The majority of the remaining comments for this movement were directed at specific intonation tendencies and balance issues within the group.

Chanson No. 2

Joe: The opening of this movement must sound rhythmic and clear. The entrance of the first part is a nice contrast to the "little machine" going on in the lower parts. Bring out that contrast.

Take the opportunity to sing across the bar line, particularly in the second trombone part. Don't let the momentum become labored or choppy, really let it sing.

Chanson No. 3

Joe: The intricate line in the third part can't be too aggressive in this movement.

Chris: Much of the work done on this movement dealt with more individual intonation and balance issues with the group. As a general guideline: melody rules.

Bruckner's Locus Iste

Joe: When finishing a phrase, finish it all the way. Don't let the phrase end abruptly, especially in a very sacred and choral piece like this.

Think about the beginning of the piece in a way that relates to the end of the previous piece

Chris: In this case, the previous piece on the program will be Bach's Prelude and Fugue in d minor. Joe wanted the group to highlight the contrast in styles between a Bach fugue and a Bruckner motet.

Joe: Think in 4 at the beginning (even though it's marked a slow two), and make it feel very religioso.

The dynamics in this piece should be understated: a vocal forte, not an instrumental forte. Don't introduce the "trombone sound" until the forte sequence near the end of the movement (before the da capo).

When playing soft, keep the tempo moving forward.

Bach Prelude and Fugue in d minor

Joe: (to Sam) I'd really like you to get out from underneath the music stand. Your posture is such that it makes it difficult to hear you, and it also makes it difficult to produce the kind of sound necessary to lead in a piece like this. I hate to see players hunched over in this way. Stand up, get your head up, and play to your audience.

As each entrance occurs, try to keep a consistent sound and style between all the players.

Chris: The quartet concerts are scheduled for Saturday at 8:00 PM and Sunday at 3:00 PM.