Review

Théodore Dubois
Nocturne: for Bass Trombone (Tuba) and Piano

Arranged by Eric High


Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2022
URL: http://www.cherryclassics.com

Primary Genre: Solo Bass/Contrabass Trombone - with piano

Théodore Dubois (1837-1924) studied at the Paris Conservatory, went on to win the Prix de Rome in 1861, and later became director of the Paris Conservatory in 1896. He was a noted composer, organist, and teacher in his lifetime. Dubois’ Nocturne for solo cello and piano was published in 1905, the same year he was forced to retire from the Paris Conservatory due to a scandal resulting from an attempt to prevent Maurice Ravel from being awarded the Prix de Rome.

Eric High sets the Nocturne in the original key of E Major; however, the solo bass trombone or tuba part is transposed down an octave from the original. Nocturne employs a ternary, ABA form, and the beautiful opening A section of the work features slow, lyrical phrases in the solo part set to a flowing accompaniment in 9/4. The yearning romantic quality of the work is accentuated by layers of hemiola and syncopation wherein a triple and duple subdivision of the beat persist over a lush harmonic progression. In the internal B section of the work, High eliminates the extensive use of trilling in the original cello part and simply and effectively sets the melody unadorned for the solo bass trombone. The overall lyrical nature of the work disguises the significant technical requirements presented by two challenging, moving phrases at the dramatic, emotional high point of the work. Here Dubois, in true romantic style, has moved quite far from the comfortable tonal center of E major, and one of the challenges for the soloist will be working through the rapid passagework while negotiating the extensive use of accidentals outside the key signature. In the last phrase before the return to the opening A section, the bass trombonist is presented the fun option to showcase their low range with a passage that extends down to an EE. The work draws to a close with a serene cadence in E major; the bass trombonist sustaining an e1. The range of the work is generally conservative and tops out at an f1 unless the performer chooses an ossia passage that extends up to an a1, and the low range demands are generally in the trigger register and only extend briefly into the pedal register in the noted instance above.

I highly recommend this work for your personal or studio library and the arrangement would make an excellent choice for inclusion on a solo recital.