Review

Victor Ewald
Romance Op.2:

Arranged by Ralph Sauer


Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2009
URL: http://www.cherryclassics.com

Piano score and solo part

Primary Genre: Solo Tenor Trombone - with piano
Secondary Genre: Solo Bass/Contrabass Trombone - with piano

Ralph Sauer has taken the short, yet delightful Romance for ’cello or viola by Victor Ewald and recast it for trombone, bass trombone, and tuba. The piece has been left largely at pitch in the trombone publication, not exceeding a2 in range aside from an optional d2 in the final cadence. Nevertheless, the a2 is featured prominently, and consistently; this pitch is required to properly execute this piece. Flexibility is also required to retain the lyrical style across large leaps, including those to and from a2. The bass trombone/tuba setting is an exact replication of the tenor trombone version, yet a major seventh lower. In this instance range traverses A to b-flat1 with an optional e-flat1. Altogether, the Romance provides an excellent short recital piece.

The piece begins with a short piano introduction that establishes the rhythmic ostinato that provides the foundation for the entire work. The pianist should be competent as the harmonies quickly become thick and chromatic across multiple planes. The melody involves a wide range with many segments traversing an octave or more in an arpeggiated-manner. Even so, there is ample opportunity for incredible expressivity through the written dynamics and ornamentation. The piece also lends itself well to different intensities of vibrato, some slight moments of rubato, and tweaks in articulation for artistic affect.

Sections of the Romance have been transposed by one octave to accommodate the range of the trombone. Integrity of the overall contour is retained at the expense of a few isolated moments. Mr. Sauer provides more dynamic markings than the original score, but such marks offer a detailed context for the performer to provide interest to relatively repetitious phrases or motives. Still, a challenge exists with the bowing marks that were retained. They should not be treated as slur or small-phrase markings in a generally legato setting, for doing so would create an unauthentic sound. A string player keeps even articulation throughout, even when changing bow direction. This should be considered by the trombonist. Phrasing should be taken from the inherent contour of the melody, not entirely from such markings. Furthermore, the range of the bass trombone transcription overlaps the rhythmic ostinati and employed lower tessitura of the piano. Care will be much needed to ensure that the texture of the piece does not become too dark or muddy.

-Andrew Farina
Detroit, MI