Roger Verdi & Martha Locker | American Works for Trombone

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American Works for Trombone

by Roger Verdi & Martha Locker

An exciting collection of music for trombone all by American composers.
Genre: Classical: Twentieth Century
Release Date: 

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  Song Share Time Download
1. Fantasy for Trombone and Orchestra, Op. 42
Roger Verdi & Martha Locker
11:50 $0.99
2. Arrows of Time: 1. Up
Roger Verdi & Martha Locker
4:03 $0.99
3. Arrows of Time: 2. Slow-Freely
Roger Verdi & Martha Locker
5:30 $0.99
4. Arrows of Time: 3.
Roger Verdi & Martha Locker
2:49 $0.99
5. Parable XVIII for Solo Trombone
Roger Verdi & Martha Locker
5:09 $0.99
6. Sonata for Trombone and Piano: 1. Allegro
Roger Verdi & Martha Locker
4:30 $0.99
7. Sonata for Trombone and Piano: 2. Adagio
Roger Verdi & Martha Locker
5:05 $0.99
8. Sonata for Trombone and Piano: 3. Allegro moderato ma giusto
Roger Verdi & Martha Locker
4:52 $0.99
9. Four Songs: 1. Memories
Roger Verdi & Martha Locker
2:08 $0.99
10. Four Songs: 2. The Side Show
Roger Verdi & Martha Locker
0:36 $0.99
11. Four Songs: 3. Dreams
Roger Verdi & Martha Locker
2:36 $0.99
12. Four Songs: 4. War Song No. 2
Roger Verdi & Martha Locker
2:40 $0.99
13. Love's Enchantment Valse de Concert
Roger Verdi & Martha Locker
7:39 $0.99
Downloads are available as MP3-320 files.


Album Notes
Paul Creston 1906-1985

Paul Creston was born October 10, 1906 in New York to Italian immigrant parents. His only formal musical instruction was in piano and organ. He was otherwise self taught, pursuing studies in theory, composition, literature, and philosophy while working to support himself and his family. He developed his own unique style without being a part of any school or movement, making propulsive rhythm a hallmark of his work. He composed works in a range of genres including five symphonies, concertos for violin, piano, saxophone and marimba, songs, choral, chamber and instrumental pieces.

He noted his greatest influencers to be Bach, Scarlatti, Chopin, Debussy, and Ravel. His music was accessible often incorporating song and dance idioms, with lush harmony and sometimes brash orchestration. He was the recipient of many awards and honors including a Guggenheim Fellowship and the New York Music Critics' Circle Award for his Symphony No.1.
His Fantasy for Trombone and Orchestra 0p. 42, was completed in 1947 for the American trombonist Robert Marsteller. The work features many hallmarks of the composer’s style, including, rhythmic ostinato, dance like idioms and a colorful and thick orchestration. The piano reduction heard here is by the composer.

Richard Peaslee 1930-

Richard Peaslee was born in New York City, and currently lives in Seattle. He received his undergraduate degree in Music Composition from Yale University, graduating Phi Beta Kappa. After serving two years in the U.S. Army, he received both a diploma and a Master of Science degree from The Juilliard School.

He has composed extensively for the theatre in New York, London and Paris. In addition to numerous scores for Broadway, Off-Broadway and regional theatres, he has written music for the Peter Brook/Royal Shakespeare Company, Peter Hall and the National Theater and Joseph Papp and the New York Shakespeare Festival.

Of his Arrows of Time (1994) Mr. Peaslee writes: Having once played trombone in high school and college bands, it has always been a favorite instrument of mine. In writing this piece, however, which is often virtuosic in its demands on the player, I needed far more than my own amateurish knowledge of the instrument. For advice I contacted two of the greatest players in the field, Joe Alessi and Jim Pugh. Both were most helpful, especially Joe who has really brought the piece into being by giving it its first performances. Alessi, I found, was the ideal player for this work in that he can seamlessly combine both a classical and jazz technique in his playing. One of my main influences has been Bill Russo's trombone writing for the Stan Kenton Orchestra spearheaded by Frank Rosolino's spectacular solos.

As for the title, Arrows of Time, the term appears in Stephen Hawking's "A Brief History of Time" which I had been reading while writing the piece. Little more can be said in explanation except that I liked it as a title.

Vincent Persichetti 1915-1987

Vincent Persichetti was born to an Italian father and a German mother in Philadelphia in 1915, where he continued to live until his death in 1987. He began to study the piano at the age of five, and began composing soon thereafter. He graduated from Philadelphia’s Combs Conservatory, then earned his doctorate at the Philadelphia Conservatory. In 1947 William Schuman invited him to join the Juilliard faculty, and he taught there for the rest of his life. He became chairman of Juilliard’s composition department in 1963, and in 1970, of the literature and materials department

Persichetti advanced the notion of a broad musical language or “common practice,” based on all the materials and techniques of the 20th century. This concept is reflected in his compositions that range from simple and traditional to complex and atonal. He was a prolific composer of over 120 works, including pieces for piano and wind band, as well as much music for instructional use.

His Parable XVIII for Trombone, Op. 133 (1975) was dedicated to Per Brevig. It begins with the trombone in muted obscurity, gives way to a frenzied contrapuntal section, and ends with plaintive melodies leading to an ending where the performer is instructed to “dissolve” the final note.

Halsey Stevens 1908-1989

Halsey Stevens was born in Scott, New York on December 3, 1908. He was educated at Syracuse University where he studied composition with William Berwald, and piano with George Mulfinger, and the University of California Berkeley where he studied composition with Ernest Bloch. He was on the faculties of Syracuse University, Dakota Wesleyan University, the University of Redlands, and the University of Southern California from 1946 until his retirement in 1976.

He was awarded Guggenheim Fellowships in 1964 and 1972, a National Institute of Arts and Letters Grant in 1961, the Doctor of Letters degree from Syracuse University in 1966, and the Abraham Lincoln Award from the American Hungarian Foundation in 1978.

As composer, he wrote extensively for orchestra, various chamber groups, keyboard, and chorus. His music has been played widely throughout the United States and in more than 30 countries.

An internationally respected musicologist, he authored the seminal work The Life and Music of Bela Bartok. 1953.

His Sonata for Trombone and Piano was completed in 1967 and dedicated to the American trombonist Robert Marsteller. Movement One is in triple meter, though the pulse is often obscured through the use of hemiola. Movement Two is a soulful aria, and Movement Three an intense study in counterpoint using shifting meters.

Charles Ives 1874-1954

Ives is one of the first American composers to gain international renown, though the complicated and progressive nature of his work insured much of it remained obscure during his lifetime.

He was influenced by the musical soundscape of his native New England which included church hymns, parlor ballads, and patriotic songs. He combined these influences with European harmonies and melodies to create a truly unique American style. Though, anything and everything might be included in his scores—for instance, a quote from a Beethoven symphony might be followed close by a rendition of Turkey in the Straw.
He was taught music by his father, a band master in Danbury Connecticut. The elder Ives encouraged his son’s musical curiosity, conducting sonic experiments. A favorite was having marching bands walk toward each other playing different pieces; when the bands passed through each other, the resultant cacophony was to the Ives a whole new piece of music. The younger Ives graduated from Yale where he studied composition with Horatio Parker, but upon graduation went to work in the insurance business, eventually becoming a prominent executive. His business life left him the freedom to pursue composition on his own terms.

Ives composed three symphonies, each one becoming more dissonant and unconventional than the previous, reflecting the training he received from his father. In 1947 he won the Pulitzer Prize for music, and in 1951 Leonard Bernstein conducted his Symphony No. 2 in a broadcast concert by the New York Philharmonic. Since that time his reputation as a great American composer has continued to grow.

The set of four songs heard here are taken from his collection of 114 songs. They were transcribed and arranged by the American trombonist Ralph Sauer.

Arthur Pryor 1870 – 1942

Arthur Willard Pryor was a trombone virtuoso, bandleader, and soloist with the Sousa Band. He was a prolific composer of band music, his best-known composition being The Whistler and His Dog. In later life, he became a Democratic Party politician from New Jersey, and served on the Monmouth County Board of Chosen Freeholders in the 1930s. Pryor first took up music at a very young age under the tutelage of his father, a bandmaster, and was playing the trombone by age 11.
Pryor directed the Stanley Opera Company in Denver until joining the John Philip Sousa Band in 1892, at the age of 22. During his 12 years with the Sousa Band, Pryor estimated he played 10,000 solos. He was assistant conductor of the Sousa Band from 1895 to 1903.

Pryor ended his association with the Sousa band in 1903 and took over the reorganized Pryor band founded by his father. He made his first appearance in Asbury Park, at the New Jersey shore, in 1904, where he continued to play until 1930.
His facility on the slide trombone was unprecedented; not only could he outdo many valve brass instrument players, but woodwind players as well. Nevertheless, his favorite pieces to play were beautiful melodies such as operatic arias and popular songs of the day. Sousa allowed Pryor to indulge his lyric playing, but insisted as well on crowd pleasing technical show pieces. Pryor obliged by composing works such as his Love’s Enchantment, Valse de Concert, where both beautiful melody and technical fireworks are displayed.

Roger Verdi – Trombone

Roger Verdi holds a BA from Drew University and MMA from the Manhattan School of Music. His teachers included Edward Erwin, Hal Janks and Albert Lube. He is an active free-lance musician in the New York /New Jersey area. Ensembles he has performed with include: the New Jersey Symphony, American Ballet Theater, the New Jersey Festival Orchestra, the New Philharmonic of New Jersey, the Allentown Symphony, the Riverside Symphony, the Mid Atlantic Opera, the Hawthorne Symphony, the Bridgeport Symphony, the Garden State Philharmonic, the Princeton Symphony, the Newark Cathedral Orchestra, the Delaware Symphony, North South Consonance, the New York Gilbert and Sullivan Players, Ars Nova Singers, the Westfield Oratorio Society, the Greenwich Symphony, the Greenwich Choral Arts Society, the Manhattan Chamber Orchestra, the Garden State Band, and many others. He is a founding member of the Modern Brass Quintet, and has performed with that ensemble at the 92nd Street Y, Greenwich House, Merkin Hall, the Kosciuszko Foundation, the Storm King Arts Center, the Lincoln Center Library, as well as many other venues. He has appeared as a recitalist in venues throughout New York and New Jersey, and as a concerto soloist with the New Sussex Symphony and Essex County Summer Players. He has recorded widely for the Newport Classics and Koch International labels. A veteran touring musician, he has traveled the United States many times performing opera and musical theater. His activities include many different styles of music; he has toured the world with the Glenn Miller Orchestra, performed in the orchestra for Ringling Bros. Circus, and recorded CDs for the Chico Mendoza and David Cedeno Orchestras.

His CDs, Looking Ahead: Works for Trombone, released in 2007, Taking Steps: Works for Trombone, released in 2009 and Almost Home, released in 2010, have won critical acclaim and have sold internationally.

Roger performs on a Selmer-Bach model 42B trombone, with a Dennis Wick model 5AL mouthpiece. He lives in Belleville New Jersey.

Martha Locker--Piano

Martha Locker leads a busy and diverse musical life, performing as soloist and chamber musician both in the United States and abroad. As soloist, Martha has performed with the Pittsburgh Symphony Orchestra, the Knoxville Symphony Orchestra, the Westmoreland Symphony Orchestra, Orchestra Nova, the New Juilliard Ensemble and the New York University Symphony Orchestra. An avid chamber musician and performer of contemporary music, Martha gives regular performances at Juilliard and New York University and many other New York venues, including Bargemusic, Symphony Space, Greenwich House and Bloomingdale House. Martha has been a fellow of the Tanglewood Music Center, and has attended the Sarasota Music Festival, the Chautauqua Music Festival, and the Eastern Music Festival and was invited to perform at the Kyoto International Music Festival in Japan. She has been a guest artist of the New York University Summer String Quartet Institute, and the University of Maryland Summer Percussion Seminar and the Alessi Trombone Seminar. Martha holds Bachelor’s and Master’s degrees from the Juilliard School, where she studied piano with Peter Serkin, Jacob Lateiner, and Jerome Lowenthal. She completed an Advanced Certificate in Music Education at New York University in 2012, where she studied piano with Miyoko Lotto. Martha is also an adjunct faculty member at NYU and at the Packer Collegiate Institute in Brooklyn.



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