The Old Chevalier: Trombone: Score

Piano reduction and solo Trombone part for The Old Chevalier (2005) - A Gothic Tale for Tenor Trombone and Ensemble. Full score: WH30941 Version for Bass Trombone: WH30942 Programme note The Old Chevalier for Trombone and Ensemble is the second of a series of seven compositions named after Karen Blixen's collection of short stories Seven Gothic Tales. My musical gothic tales are written for very different ensembles - THE SUPPER AT ELSINORE is a saxophone quartet - but they all share musical material in a criss-cross of contextual referencesreminiscent of Blixen's narrative complexity: Themes and motivsfrom one piece appears in others in new and surprising shapes and combinations. Karen Blixens The Old Chevalier begins with an old man talking to a youth about obl igation and passion. The old man tells a story about a beautiful woman who wanted tomake her husband jealous and cheated on him with a young man who admired him. Afterdiscovering the truth the young man meets a prostitute on her very first job. The girl is an innocent trading favors for shelter. The young man falls in love but she remains obliviousto his passion. She leaves after their encounter without emotional involvement. Many years later the young man - the old man telling the tale - recognizes the girl in a beautifulskull he's holding in his hand. The Old Chevalier isn't 'about' anything. The music is inspired by the artistic content of Blixen's short story - it's emotionalism dramatic construction atmosphere period and setting - but unfolds in time and musical space in ways that are completelyindependent of the story's narrative progression... except one might say that the trombone makes love to the piano and at the very end - just like the old man in the story is left contemplating its remains. The piece is written for the trombonist Jens

Piano reduction and solo Bass Trombone part for The Old Chevalier (2005) - A Gothic Tale for Bass Trombone and Ensemble. Full score: WH30942 Version for Tenor Trombone available: WH30941 Programme note The Old Chevalier for Trombone and Ensemble is the second of a series of seven compositions named after Karen Blixen's collection of short stories Seven Gothic Tales. My musical gothic tales are written for very different ensembles - THE SUPPER AT ELSINORE is a saxophone quartet - but they all share musical material in a criss-cross of contextual referencesreminiscent of Blixen's narrative complexity: Themes and motivsfrom one piece appears in others in new and surprising shapes and combinations. Karen Blixens The Old Chevalier begins with an old man talking to a youth about obl igation and passion. The old man tells a story about a beautiful woman who wanted tomake her husband jealous and cheated on him with a young man who admired him. Afterdiscovering the truth the young man meets a prostitute on her very first job. The girl is an innocent trading favors for shelter. The young man falls in love but she remains obliviousto his passion. She leaves after their encounter without emotional involvement. Many years later the young man - the old man telling the tale - recognizes the girl in a beautifulskull he's holding in his hand. The Old Chevalier isn't 'about' anything. The music is inspired by the artistic content of Blixen's short story - it's emotionalism dramatic construction atmosphere period and setting - but unfolds in time and musical space in ways that are completelyindependent of the story's narrative progression... except one might say that the trombone makes love to the piano and at the very end - just like the old man in the story is left contemplating its remains. The piece is written for the trombonist Jens

Sword of Honour (?L?épée de l?honneur?) de Tom de Haes retrace l?histoire de Gauvain un des nobles chevaliers du roi Arthur. Gauvain apparaît essentiellement dans les premiers récits de la légende arthurienne. Il est célèbre pour avoir accepté le défi lancé par le mystérieux Chevalier vert : lui trancher la tête et le retrouver dans un an jour pour jour afin d'être à son tour décapité. Fidèle à sa parole le preux et loyal Gauvain se présente pour la revanche mais ne sera pas décapité. Le Chevalier vert n?était autre que Bertilak de Hautdésert qui fut envoyé pour tester la bravoure des Chevaliers du roi Arthur. Plus tard dans l?histoire du château de Camelot Gauvaina été quelque peu éclipsé par d?autres chevaliers tels que Lancelot et Perceval. Comme eux il incarne le chevalier courtois : courageux honnête et fier.Cette composition s?articule autour de deux thèmes principaux qui illustrent le caractère noble et audacieux de Gauvain. Présentés dans diverses harmonisations et orchestrations les deux thèmes dévoilent les multiples facettes de ces deux qualités courtoises. Sword of Honour s?ouvre dans un univers sonore mystérieux d?où s?élèvent des cadences pour la flûte et la trompette suivies d?un Allegro marziale. Le second des deux thèmes principaux est alors exposé par les cors et les trombones. S?ensuit un passage lent dans lequel la percussion reprend des fragments du premier thème. La densité maximale est atteinte dans le finale solennel ; les deux thèmes sont interprétés simultanément.

Sword of Honour (?L?épée de l?honneur?) de Tom de Haes retrace l?histoire de Gauvain un des nobles chevaliers du roi Arthur. Gauvain apparaît essentiellement dans les premiers récits de la légende arthurienne. Il est célèbre pour avoir accepté le défi lancé par le mystérieux Chevalier vert : lui trancher la tête et le retrouver dans un an jour pour jour afin d'être à son tour décapité. Fidèle à sa parole le preux et loyal Gauvain se présente pour la revanche mais ne sera pas décapité. Le Chevalier vert n?était autre que Bertilak de Hautdésert qui fut envoyé pour tester la bravoure des Chevaliers du roi Arthur. Plus tard dans l?histoire du château de Camelot Gauvaina été quelque peu éclipsé par d?autres chevaliers tels que Lancelot et Perceval. Comme eux il incarne le chevalier courtois : courageux honnête et fier.Cette composition s?articule autour de deux thèmes principaux qui illustrent le caractère noble et audacieux de Gauvain. Présentés dans diverses harmonisations et orchestrations les deux thèmes dévoilent les multiples facettes de ces deux qualités courtoises. Sword of Honour s?ouvre dans un univers sonore mystérieux d?où s?élèvent des cadences pour la flûte et la trompette suivies d?un Allegro marziale. Le second des deux thèmes principaux est alors exposé par les cors et les trombones. S?ensuit un passage lent dans lequel la percussion reprend des fragments du premier thème. La densité maximale est atteinte dans le finale solennel ; les deux thèmes sont interprétés simultanément.

The Poet - A Gothic Tale for Saxophones and String Quartet (2007). 2008 Chamber version available: WH30938 Programme note The Poet is the fourth of a series of seven compositions named after Karen Blixen's collection of short stories Seven Gothic Tales.My musical gothic tales are written for very different ensembles - THE SUPPER AT ELSINORE is a saxophone quartet THE OLD CHEVALIER is for bass trombone and piano THE MONKEY is a chamber orchestra work - but they all share musicalmaterial in a criss-cross of contextual references reminiscent of Blixen's narrativ ecomplexity: Themes andmotivs from one piece appear in others in new and surprising shapes and combinations.Karen Blixen's The Poet is about a retired counsilor who always desired to be an artist - once he even met his ideal Goethe - but knows that he is completely without talent.Instead he patronizes a young gifted writer to the extent of shaping himself into a father figure his protege depends upon.When a young italian widow arrives and the writer predictably falls in love with her and she with him the councilor arranges a marriage between the widow and himself in order to break the young poet's heart - only in the best intention: to make him into a real poet.But the writer decides to take his own life and the widow crushes the councilor's head with a heavy stone crying ”You poet!”As he dies helpless to the will of destiny the councilor realizes that fate has wrought a story greater than any he could have invented. The Poet isn't 'about' anything. The music is inspired by the artistic content of Blixen's short story - it's emotionalism dramatic construction atmosphere period and setting - but unfolds in time and musical space in ways that are completely independent of the story's narrative progression... except one might say that the violin kills off thepiano while the baritone saxophone goes

2008 Version-The Poet (2008 Version) for Violin Baritone Saxophone and Piano. Orig. version: WH30939 Programme note The Poet is the fourth of a series of seven compositions named after Karen Blixen's collection of short stories Seven Gothic Tales.My musical gothic tales are written for very different ensembles - THE SUPPER AT ELSINORE is a saxophone quartet THE OLD CHEVALIER is for bass trombone and piano THE MONKEY is a chamber orchestra work - but they all share musicalmaterial in a criss-cross of contextual references reminiscent of Blixen's narrativ ecomplexity: Themes and motivs from onepiece appear in others in new and surprising shapes and combinations.Karen Blixen's The Poet is about a retired counsilor who always desired to be an artist - once he even met his ideal Goethe - but knows that he is completely without talent.Instead he patronizes a young gifted writer to the extent of shaping himself into a father figure his protege depends upon.When a young italian widow arrives and the writer predictably falls in love with her and she with him the councilor arranges a marriage between the widow and himself in order to break the young poet's heart - only in the best intention: to make him into a real poet.But the writer decides to take his own life and the widow crushes the councilor's head with a heavy stone crying ”You poet!”As he dies helpless to the will of destiny the councilor realizes that fate has wrought a story greater than any he could have invented. The Poet isn't 'about' anything. The music is inspired by the artistic content of Blixen's short story - it's emotionalism dramatic construction atmosphere period and setting - but unfolds in time and musical space in ways that are completely independent of the story's narrative progression... except one might say that the violin kills off thepiano while the baritone saxophone goes drown