Royal Academy of Music Trombone Choir

Director: Bob Hughes
Regent Hall, London,
Friday 14th October

Throughout the existence of the Brass Arts Festivals, arranged by Philip Biggs and held at The Salvation Army, Regent Hall, it has been customary for the Friday proceedings to commence with a free concert given by students from one or more of the London music colleges. 

These preliminary concerts have covered a wide range of groups, and this year it was the turn of the trombone choir from the Royal Academy of Music - eleven trombone students, supported for the second half of their programme by flugel horn and rhythm section, and all under the direction of Bob Hughes of the London Symphony Orchestra.  With the all-female quartet "Bones Apart" to follow later in the afternoon, they could have been exposing themselves somewhat, but their programme and presentation only served to underline the depth of talent currently attending the Academy.

They opened with "Mini-Overture" by James Kazik, one of the arrangers for the US Army, and who had also written a bass trombone concerto for one of the students, American Dan West.  The "Mini-Overture" called for some crisp tonguing and tight ensemble work, with some particularly striking chords built up in sequence across the group.  They demonstrated a full, bright sound, and it augured well for the rest of the programme.

Bob Hughes underlined the need for the present-day player to be versatile: there is such competition for work that they try to prepare their students for every situation, be it big band, orchestral playing, brass band or chamber work.  Their second item, Giovanni Gabrieli's "Canzon Septimi Toni No 2", from his "Sacrae Sinfoniae", made for a complete contrast.  Written to exploit the contrapuntal opportunities offered by the churches in Venice, the spacial effects were still audible with the two groups placed either side n the platform - lack of rehearsal time had precluded them using the balconies for even greater effect.  The lively nature of the music brought out some fine articulation, with some excellent work from the bass trombones in both choirs, and recurring, repeated notes being well separated.

Hungarian composer Zoltan Kodaly is probably best known for his "Hari Janos" suite, but he also wrote a large amount of vocal music for various groups.  Bob Hughes had taken his "Mountain Nights", originally for wordless female chorus, and transcribed it (down the octave) for trombones.  Opening out gradually from a unison start, there were some magical effects, including note clusters reminiscent of Ligetti, with prominent clashes of a tritone. 

A melodic figure from the bass, presented first on its own, was then juxtaposed against the opening chords, with a very slavonic/eastern orthodox feel to it, also evoked something of the trombone writing of Hovhanness.  At one point a solo trombone was left suspended in the air, as the others stopped playing, and on this occasion it was New Zealander Blair Sinclair doing the honours - there was a great deal of movement between parts so as to give everyone a turn.

Gordon Jacob wrote his "Octet for Trombones" for Denis Wick in 1994.  Following a lively opening, there was a powerful melody, first in unison then in octaves, before passages contrasting muted and open sounds.  The composer seemed to have been infected with something of Malcolm Arnold's humour in the latter sections, which exploiting both high and low registers to the full.  A hymn-like movement set a legato melody against sustained accompanying chords, with a ringing top Eb (concert Db) from Johannes Ettlinger at the climax.  The music led straight into a lively triple-time episode before a quieter passage brought more smooth and controlled high register playing.

For the second half of the programme, Richard Turner was featured as flugel horn soloist, supported by a fine rhythm section.  His first number was "Here comes that Rainy Day", arranged by trombonist Adrian Drover.  The close harmony writing for the trombones was very effective, even if the tempo chosen seemed a little on the slow side.  Richard's playing was very much in the trumpet-playing mould, but his tone at higher dynamics was rich, full and warm.

"Reuben's Blues" came from the repertoire of Stan Kenton's mellophonium band, and was marked "Easy Walk".  After an introduction from the rhythm section, four trombones opened up with some intricate playing, spot-on rhythmically and very tight ensemble, before picking up the melody in unison.  There was an effective chorus with the flugel backed by muted trombones, and Robbie Harvey had the chance to flex his lips in the "Herb Bruce" role.  The two bass trombones were also featured in a duet, and Richard seemed to produce an endless stream of notes on the flugel - not particularly this reviewer's favourite style of playing, but undoubtedly carried off with aplomb!

For their final item, they turned to "Old Devil Moon".  With the congas at the start underlining the Latin American feel, the playing was full and confident, even though one or two of the players did not seem quite so comfortable with this musical style.  Glissandi were nicely placed and the tight ensemble and close harmony work made for an impressive close to the programme.

With a pleasant mix of music and accomplished playing it is clear that the brass department at the Royal Academy is in good health, and preparing the students well for the big, wide world. 

Peter Bale

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