Review

Hilario Extremiana
Carptim:
trombone and string quartet

Bilbao, , Spain
Publisher: CM Ediciones Musicales
Date of Publication: 2011
URL: http://www.cm-ediciones.com

Score only

Primary Genre: Solo Tenor Trombone - with orchestra
Secondary Genre: Chamber Music

The composer was born in 1958 in Miranda de Ebro, Spain, and is currently Music Director of the Bilbao Symphony Orchestra. Carptim was commissioned by Alberto Urretxo, first trombone of the Orquesta Sinfónico de Bilbao, who premiered it in Bilbao in 2008. The score is a multi-lingual production: the title is Latin, notes are in Basque and Spanish, directions are in Italian, Spanish and English. Carptim means ‘separately’ or ‘in detached parts.’ The composer writes that ‘initially, trombone and strings present separately their own thematic material that evolves subsequently in combination, with elaboration of the material and incorporation of new ideas.’ Stylistic influences in this fascinating work range from early Italian Baroque to Swing and Be-bop.

It opens with a lyrical statement by solo trombone, marked Despacio (take it easy) before the strings enter pizzicato and then muted, playing in an easy-going swing tempo. They are joined by muted trombone also in a lyrical style. Strings then begin a brisk Allegro in neo-baroque style. Their ideas are taken over by trombone. A relaxed Andante leads to a return of the swing styling, now set in complex 5-part counterpoint with a sensuously romantic melody played on muted trombone, ‘cello playing pizzicato. This writing is really beautiful. Some dynamic markings have been inadvertently omitted for entries in this section; viola should be p in measure 93; 2nd violin mf in 98. There are wrong notes in the ‘cello part at measure 110, should be same as trombone. The following section is in be-bop style with cascading triplet 16ths in all parts at a tempo of quarter = 105. The piece ends with a return of the opening lyrical theme now marked Libero y muy tranquilo. The final measure is an emphatic statement, marked Molto marcato and fff.

The obvious question in approaching a work for this combination of instruments is ‘how easy will it be to achieve a satisfactory balance?’ The composer’s skill in this respect is evident in the way the trombone and strings throughout most of the piece play different rhythmic patterns, which will be audibly distinct even when woven into complex textures. This is part of the ‘separation’ implied in the title. I consider this to be a highly successful piece, gracefully melodic, with great vitality and musical interest.

-Keith Davies Jones
Winnipeg, Manitoba, Canada