Enigma

Bones Apart
Egon Recordings: SFZ 137
Total Playing Time: 55.40 mins

~ Buy with 4barsrest shopping

At the time of its formation in 1999, the trombone quartet "Bones Apart" created a lot of interest, not least because of the fact that its four members were all female, still a relative rarity in the trombone world, despite the sterling efforts and achievements of Maisie Wiggins and others over the years.  Eight years on and audiences around the world have come to admire them for their excellent playing and for the rapport they develop with their listeners. 

On this, their third CD, they present a selection of their concert repertoire, although it is a pity there is nothing to acknowledge their efforts in commissioning and promoting new works for the medium – maybe that will come with CD number 4!  Their personnel has changed since their formation but they never fail to maintain the same high standards. 

Those playing on this recording are Becky Smith, Helen Vollam and Katy Jones, with Lorna McDonald on bass.  Only the Beethoven "Three Equali" and the Bruckner "Aequalis" were originally written for trombones, but the group have been very well served by a number of talented arrangers, with the works here coming from the pen of two of their own, Helen Vollam and Lorna McDonald.

Although their standard line-up consists of three tenors and a bass, they also make use of an alto trombone on occasions, as in their opening number, Rossini's "Overture to the Barber of Seville".  Rossini's music is full of humour, and their light touch is perfect, dealing comfortably with the occasional lip trill and grace notes, and giving no indication as to what a feat of endurance it is to perform such a work on just four wind instruments.

The Beethoven "Equalis" are altogether more serious in intent, and were actually performed in a vocal version at the composer's funeral.  They are treated here with due solemnity, with exemplary balance between the parts.

Concertos for one and two violins might not seem an obvious choice of source material for four trombones, but Lorna McDonald's arrangement of the "Suite from L'Estro Armonico" works very well.  The three movements each present their own challenges, with the need for the three tenor parts in particular to blend well when interchanging phrases in the opening "Presto", solos for each of the tenor trombones in the "Largo", and semiquaver runs having to be negotiated in the closing "Allegro", against a seemingly interminable passage of quavers from Lorna on bass.  The articulation throughout is smooth but clear, allowing the lines to flow freely.

The Austrian composer Anton Bruckner spent much of his life as an organist, and its influence can be seen in the monumental structures of his symphonies and in his choral writing.  The three works played here are all from early in his career, the "Locus iste" having originated as a gradual hymn for a capella chorus. There are signs of Wagner's influence on the composer, in particular echoes of the "Pilgrims' Chorus" from "Tannhauser".

It is hard to believe that Bizet's opera "Carmen" was not initially a hit with the audiences, as this colourful score contains many melodies that are now instantly recognisable, but the vibrant passions portrayed seemed to offend the sensibilities of the Parisians in the 1870s.  It has proved a fruitful source for the arranger, and many will recall the music theatre presentation devised by Canadian Brass.  No theatricals here, but some very fine playing, capturing the characteristics of the various movements, and with something of a tour de force from Lorna in the "Habanera", keeping the lilting rhythm going throughout.

The "Four Ballet Scenes" are taken from Tchaikovsky ("March from The Nutcracker" and the "Dance of the Sugar Plum Fairy"), Delibes (the brief but tender "Love scene from La Source") and Gounod (the "Finale from Faust" – actually, the "finale from the Ballet Music from Faust").  These contrasting movements allow the players to explore a wide range of emotions and styles, from the subdued opening of the Nutcracker extract through to the frantic excitement of the Gounod.

After this, the "Abendsegen" or "Evening Prayer" from Engelbert Humperdinck's opera "Hansel and Gretel" comes as a welcome oasis of calm.  Taken from the second act of the opera, it is sung by the two children after they had seen visions of ghostly figures pursuing them.  The Sandman appears, sprinkling magic sand on them to help them sleep, and they say their evening prayer ("Now I lay me down to sleep") as angels watch over them.

The final item is one with which the group has frequently closed their concert programmes, a quick dash through Kabalevsky's "Comedians Gallop".  This again features Becky Smith on alto, with some tricky double-tonguing to negotiate which she takes in her stride, whilst all four players are kept busy in this joyful romp.

The production and presentation of the recording is first class, with a clear, balanced sound, and informative notes provided by the group themselves.  For those who have heard "Bones Apart" in concert, it captures well the essence of their performances, and for those who have not, it will give a good idea of what they've been missing.  With a well-balanced programme of attractive music, this should have very wide appeal, and not only to trombone fanatics.

Peter Bale

~ Buy with 4barsrest shopping

^back to top