Review

John Davison
Sonata for Trombone, Tuba and Piano:
Trombone, Tuba, and Piano

Newton, IA, United States
Publisher: TAP Music Sales
Date of Publication: 1986

Primary Genre: Chamber Music
Secondary Genre: Brass Ensemble - 2 brass

Originally written for euphonium but playable on trombone, the Sonata for Trombone, Tuba and Piano is well constructed with clear melodic and rhythmic ideas, strong structure and attention to timbre. All of the parts are equal partners in the process. The first movement is built on quartal harmonies and its melodic material is derived from these harmonies. For the most part, the piano is accompanimental and the trombone and tuba explore the melodic motives in counterpoint or together harmonized in fourths or occasionally in octaves. As expected from the quartal emphasis, the melodic material is fairly angular and not diatonic. The second movement focuses on a beautiful waltz melody in 3/8 meter. The music plays on the melodic and harmonic interaction created by the contrapuntal statements of the melody by all three instruments rather than any traditional accompaniment. 32nd note passages in the trombone are perhaps more idiomatic to euphonium than trombone, but they are quite playable on trombone. Overall this is the most effective movement of the piece. The third movement pits the trombone and tuba in long accented syncopated lines, often in octaves, against quick eighth note commentary in the piano. In the middle of the movement the roles of brass and piano are briefly reversed. The long lines have the sense of a modern cantus firmus, though there are only a few passages that sound like a more traditional choral melody. The use of the octaves in the trombone and tuba bring an orchestral power to the movement as well. My only criticism of the piece would be that I personally do not find the melodic material, especially in the outer movements, to be particularly musically compelling. Otherwise this is a well written composition that can be played by college level players with strong rhythm and the ability to hear the non-diatonic melodic lines. In addition there are not many full scale sonatas written for this combination so it is a welcome addition to this area of the literature.

-Timothy Howe
University of Missouri