Review

Ruud van Eeten
Transference:

Coventry, , United Kingdom
Publisher: Warwick Music Publishers
Date of Publication: 2008
URL: http://www.warwickmusic.com

Primary Genre: Trombone Ensembles - 8 trombones

Transference Octet No.2 was commissioned by the “Fonds voor de Scheppende Toonkunst” and is published as part of Warwick Music’s New Trombone Collective Series. Composer Ruud van Eeten (b.1973) received his B.A. in Trombone, Theory of Music, and Orchestral Conducting from the Brabant Conservatory in Tilburg, The Netherlands, and his M.A. in orchestral conducting from the Royal Conservatory in The Hague. He conducted several orchestras, such as the Limburg Symphony Orchestra, Musikcollegium Winthertur, the Royal Flemish Orchestra and Orchestra Sinfonico della provincia Bari. As a composer, Ruud van Eeten has written a trombone concerto for the principal trombonist of the Royal Concertgebouw Orchestra, and has composed works for orchestra De Volharding, Egidius Quartet, Arte Duo and the New Trombone Collective. 
 
Transference for trombone octet is set in three parts in an ABA' form. The A sections are aggressive and quick, while the B section is slower and more lyrical.  The work opens with the rhythmic motive of repeated sixteenth notes. The motive is used extensively in the A section of the work both as melody and also as transitional material. Over the repeated sixteenth notes the composer employs a slower melodic line of longer duration notes. This is used in one part and also occasionally by having more than one part add pitches to the line. Following a muted section the B Adagio section begins with offbeat accompaniment to the melody in trombones one and two. The next section is the most technically challenging as it uses primarily ascending sextuplet sixteenth note flourishes as accompaniment. Creating the intended smooth, fluid line will challenge younger performers. The final A section is similar to the opening but with added harmonic and rhythmic interest. Clarity of parts and score are excellent, clear and well-marked. Parts 1-5 are given in tenor clef; part 6 and bass trombone 1 and 2 in bass.  Parts 1-5 all go up to c1 or c-sharp1 but also contain ample rest.
 
This is an interesting and challenging work that strikes a fine balance between consonance and dissonance. I highly recommend this work for any choir that has the horses to do it justice.

-Thomas Zugger
Capital University