Review

Arnt Håkon Ånesen
Janus:

Coventry, , United Kingdom
Publisher: Warwick Music Publishers
Date of Publication: 2006
URL: http://www.warwickmusic.com

Primary Genre: Trombone Ensembles - 9+ trombones (choir)

Commissioned by the Norwegian Academy of Music in 2005, this work for nine trombones was donated for review by Warwick Music. Published for two altos, five tenors, and two bass trombones, the writing and tessitura are more amiable for trios of altos, tenors, and basses. The upper three parts are in alto clef and traverse e-flat2-f2, with tenor trombone one ascending higher than alto trombone two. While the scored bass trombone parts descend to EE and DD, tenor trombone five descends to GG. A sample of the score depicting these range extremes can be viewed at the publisher’s website www.warwickmusic.com.

This emerging composer likens the shifting and at times conflicting metrical materials and pitches as dualities reflective of the pieces namesake Janus, the mythological Roman god that bears faces pointing in opposite directions. Although Ånesen comes from a tuba and conducting background, some of the notation and rhythmic issues imply that this was written on a computer and not explored with a live ensemble. This is reinforced by the composer’s introductory notes “My first thought was to make a piece of music, which did perform music as music, and not played by a certain instrumental group.” While contemporary explorations are welcome opportunities for all trombone ensembles, composers must assume the personal responsibility of making every effort to enhance the legibility of their work for the performers so that subsequent performances by other ensembles will most accurately reflect the composer’s aspirations. One example of a simple change that will aid rehearsal and improve legibility involves the single measures of sudden tempo changes to quarter equals 30 in measures 98 and 160 as they could be convincingly replaced through the use of fermatas on rests in the preceding measures without impacting the subsequent anacrusis gesture into the next tempo change. As there are numerous overlapping rhythmic patterns, including simultaneous conflicting quintuple, sextuple, and septuple patterns, it is essential that performers focus on their individual gestures and the conductor’s stable conducting. This is an intense and challenging work for the ambitious trombone ensemble most appropriate for new music or serious trombone choir concert venue.

-Peter Fielding
Mahidol University, Thailand