[Trombone-l] Creston Fantasy

[George Butler]

Hi, Kristine,

Well, Vern only did a a theoretical analysis.  There's no history here.

Vern Kagarice , *Annotated Guide to Trombone Solos with Band and Orchestra.*
Lebanon, Indiana, USA:  Studio P/R, Inc., 1974, pages 26-27.

CRESTON, PAUL, *Fantasy for Trombone and Orchestra, Op. 44, *G. Schirmer,
Inc., 1951, 3 dollars, 12:30 min., Level:  IV-V.  Range:  F just below the
bass clef staff to D# three ledger lines above the staff in tenor clef.

Creston's *Fantasy for Trombone *has become widely recognized as one of the
most difficult solos in the trombone repertoire.  Written in a contemporary
melodic and harmonic idiom, the complex tertian sonorities create an
intense, expressive style.  The solo lines frequently utilize chromatic,
disjunct patterns.

The one-movement work can be divided into three large sections, the first
being light and quick, and generating much excitement through its
articulated style.  The climax of the fast section becomes more legato,
thus setting the mood for the second large section of the work.

Following an orchestral interlude, a slow, free-flowing legato section
appears, utilizing an extremely thick harmonic texture.  This section can
present endurance problems at the climax point for even the best
trombonists.  Creston has indicated an optional *tacet* passage for the
trombonist who needs more recuperation time.  The optional *tacet* appears
at the beginning of the long slow section, with the trombone solo line
being played by the principal 'cello.

Another interlude separates the slow middle section of the work from the
final fast section.  This section begins with an orchestral fugal
statement, with the trombone making the final statement of the fugue
subject.  Creston then expands the fugue subject into a solo and
accompaniment texture.  A lyric section, still in the allegro tempo,
returns with material reminiscent of the earlier slow middle section.  The
actual melodic material does not reappear in its entirety, but the smooth
lyric character returns nevertheless.  A fast, articulated, virtuoso
section closes the piece in a bravura style.  The final Allegro section has
many wide melodic skips and some very awkward technical passages.  The solo
ends with several bars of sustained b1.

Excellent tonguing and slide facility, strong endurance, good high range,
good reading ability and sensitive musicianship are all requirements of the
trombonist who wants to play the solo.  The *Fantasy* makes an excellent
terminal project for a graduation recital if the trombonist has all the
above qualities.  The piano reduction, made by the composer, is
unreasonably difficult, and even the best pianists must edit certain
passages before performing it.  The orchestra parts are available from G.
Schirmer, Inc. for a 45-dollar rental fee for one month.  30 dollars is
charged for each subsequent month, and a performance fee of 30 dollars is
charged to any organization without an ASCAP license.

(END QUOTE)

Just in case you kids don't know:  Vern Kagarice (1942-2014) was long-time
professor of trombone at the University of North Texas, in Denton, Texas.
He was also long-time editor of the International Trombone Association
Journal, and *the* central behind-the-scenes leader for the organization.
Before Denton, he had been trombone professor at Youngstown State
University in northeast Ohio for seventeen years, which is where he was in
1974 when his *Annotated Guide...* was published.  Later in life, he played
summers in the festival orchestra at the Chautauqua Festival in upstate New
York.

It's interesting to note that Professor Kagarice, with "V" being the
highest grade he uses, gives a difficulty level of IV-V.

I cannot imagine what in Creston is only a IV.  :-)  :-)  :-)



On Sun, Nov 11, 2018 at 2:48 PM Kristine Oppegaard via Trombone-l <
trombone-l at trombonelist.org> wrote:

> Hi everyone!
> Thank you for all the answers concerning the Lebedev concert. Now, I am
> searching help for a friend;
> I have a writing workshop for my master thesis, and stupidly enough I chose
> to write about the Creston Fantasy for trombone. There seems to be no
> information on the piece, and I was wondering if any of you know anything
> about this, or know where I can find information?
>
> Thanks!
> --
> best,
>
> Kristine Solli Oppegaard
> +47 48189667
> oppekri at gmail.com
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