Trombone Romances
Passionate, intimate, nostalgic - this music for trombone and piano from the nineteenth and twentieth centuries displays the lyrical, expressive side of the trombone.
Often referred to as the dean of Afro-American composers, William Grant Still (1895 - 1978) wrote his Romance for alto saxophone in 1966, subsequently transcibed for trombone by Douglas Yeo. The piece is a dialogue, with the trombone and piano as equal partners.
Axel Jorgensen (1881 - 1947) was a violist in the Royal Danish Orchestra. Most of his compositions were written for colleagues in the orchestra. He later transcribed this 1916 Romance for trombone with orchestra. It has a poignant, narrative quality.
Romanza Appassionata by Carl Maria von Weber (1786 - 1826) is very operatic in nature. After an extended orchestra-like introduction by the piano, the trombone enters with a motif in the style of a funeral march, followed by melodic material straight from the bel canto tradition.
Often referred to as the dean of Afro-American composers, William Grant Still (1895 - 1978) wrote his Romance for alto saxophone in 1966, subsequently transcibed for trombone by Douglas Yeo. The piece is a dialogue, with the trombone and piano as equal partners.
Axel Jorgensen (1881 - 1947) was a violist in the Royal Danish Orchestra. Most of his compositions were written for colleagues in the orchestra. He later transcribed this 1916 Romance for trombone with orchestra. It has a poignant, narrative quality.
Romanza Appassionata by Carl Maria von Weber (1786 - 1826) is very operatic in nature. After an extended orchestra-like introduction by the piano, the trombone enters with a motif in the style of a funeral march, followed by melodic material straight from the bel canto tradition.
KATHRYN MACINTOSH
Trombonist Kathryn Macintosh was born in Montréal but spent her formative years in New Brunswick and Nova Scotia. She studied at Acadia University and the University of Toronto, and joined the Edmonton Symphony (ESO) in 1983 as Assistant Principal Trombone.
Active as a producer, Kathryn started the C'mon (Chamber music old & new) Festival in 2013 to share the richness of classical music with a more diverse audience. In 2014 she began her involvement with the Golden Spike Concert Society, which presents classical music concerts in a rural Alberta setting. Kathryn produced an acclaimed fully-staged version of Stravinsky's The Soldier's Tale for the 2018 Edmonton International Fringe Festival.
In 2017 Kathryn joined the Music Department of the University of Alberta as a sessional trombone instructor, and has also taught in that capacity for The King's University in Edmonton. She mentors young musicians as an ESO/YONA ambassador for the Winspear Centre’s program modelled after El Sistema, and participates in a variety of community engagement programs with the ESO/Winspear.
Trombonist Kathryn Macintosh was born in Montréal but spent her formative years in New Brunswick and Nova Scotia. She studied at Acadia University and the University of Toronto, and joined the Edmonton Symphony (ESO) in 1983 as Assistant Principal Trombone.
Active as a producer, Kathryn started the C'mon (Chamber music old & new) Festival in 2013 to share the richness of classical music with a more diverse audience. In 2014 she began her involvement with the Golden Spike Concert Society, which presents classical music concerts in a rural Alberta setting. Kathryn produced an acclaimed fully-staged version of Stravinsky's The Soldier's Tale for the 2018 Edmonton International Fringe Festival.
In 2017 Kathryn joined the Music Department of the University of Alberta as a sessional trombone instructor, and has also taught in that capacity for The King's University in Edmonton. She mentors young musicians as an ESO/YONA ambassador for the Winspear Centre’s program modelled after El Sistema, and participates in a variety of community engagement programs with the ESO/Winspear.