Classical spree - friday - Salle Claude-Léveillée

4. The Trombone by Ian Bousfield

Ian Bousfield

4. The Trombone by Ian Bousfield

Salle Claude-Léveillé

Internationally-renowned trombonist Ian Bousfield invites you to learn more about his instrument. From the elegance of Glinka to the irony of Staar, through the melodic power of Korngold and the freshness of Debussy, discover the trombone in a new light and savour this artist’s flawless technique.

Ian Bousfield, trombone

Pamela Reiner, piano


Glinka, Sonatensatz, for trombone and piano

René Staar, Panik and Irony, for solo trombone, op. 22k ter

Debussy, Menuet, for trombone and piano

Korngold, Die tote Stadt (The Dead City), excerpts




FRIDAY August 9, 2019

7:00 P.M.

Redirection to the Place des Arts


Glinka’s Sonatensatz comes from the oft-arranged opening Allegro moderato of his Viola Sonata in D minor. Composed 1825–8, when Glinka was still a song composer above all, this arrangement calls on the trombone to display the composer’s cantabile melodic writing, as well as some chromaticism reminiscent of Schumann in the genial second theme.

Panik and Irony was originally conceived in 2011 as a concerto movement for Ian Bousfield himself with string quartet, entitled “… in lichten Fernen .. ein traumhaft Glänzen” (… in the open distance … a dreamlike shimmer) after a poem Gustav Mahler wrote for his wife Alma. The 2012 solo version begins with an agitated trombone monologue, but the emphasis now lies “in the ironic parody of the trombone’s nervous solo sections,” according to Staar—hence the revised title.

Published in 1889, Debussy’s Petite Suite for piano four hands is also frequently arranged. The Menuet has an airy, archaic feel and a lively central section marked gracieux. Korngold’s fourth stage work Die tote Stadt, based on Georges Rodenbach’s novel Bruges la morte, premiered to international acclaim in 1920. With short, ominous motifs, Korngold evokes images of death and decay from the titular dead city.


Ian Bousfield