Luogo e data di registrazione		-
	Registrazione: live / studio		studio
	Recording Supervision		-
	Edizione LP		TELEFUNKEN - 6.42828 AP - (1 LP - durata 39' 58") - (p) 1980 - Analogico
	Originale LP		-
	Prima Edizione CD		-
	Note		-

More than 200 original compositions for trombone and piano are in existence from over the past 150 years; pieces for solo trombone were not written until our own century. The Cavatina by Saint-Saëns is in three partes. The centre is a song-like andantino, and the conclusion repeats the virtuoso beginning with what are, in places, fast semiquaver runs in the trombone part. Weber emphasises throughout in his newly-discovered Romanza the singing character of the solo instrument, even though its range towards the deeper notes in clear exploited, and dramatic elements maintain the flow of the work. Stojowski, born 1869 in Poland, went to Paris following studies in Cracow, and became a pupil of Delibes and Massenet. He was also trained by Paderewski as a pianist and played with many famous orchestras in Europe and overseas countries. (He corresponded with numerous important composers, among others Saint-Saëns). His "Fantaisie" op. 37 was printed in Paris even before he emigrated to the U.S., where after years of tutorial work, he died 1946 in New York. This is a work which takes account of both the tonal and the virtuoso possibilities of the trombone. The avantgarde is represented with the most significant 20th century work of trombone solo literature. With his "Sequenza V", Luciano Berio broke abruptly with the continual development of trombone technique. This is already apparent from the notation, which requires a page-long explanation. He demands that the performer should produce sounds which have never been heard before outside of electronic music. It is no longer sufficient "only" to blow. The trombonist also has simultaneously to sing into his instrument (or rather to shout in order to achieve a degree of balance with the blown tone). Both tones are produced in a reciprocal tension relationship. Vibrations, aleatoric summation and differing tones, with even the breath rendered audible, are incorporated into the performance, while on occasion the soloist has to sing certain tone pitches while drawing breath. (Berio dedicated the work to the musical clown, Grock, a neighbour from childhood days). The German-Argentinian Mauricio Kagel uses the pathetic playing efforts of a wind instrumentalist neighbour, long since pensioned off, for a study on the end of a musician's career, the executant having to act at two levels which sometimes blend with each other: 1. A tape recording produced by the performer himself documents the vain efforts of the pensioned musician to entice some usable notes from his instrument, which he polishs every day and always keeps in order. 2. At the same time he appears as a younger man "live", acting out a wind player's life in a time-accelerated motion, without ever really producing clear notes. He is permitted to play only complicated discordant notes. Steadily ageing, he succeeds, more by mistake after the middle of his piece "accidentally" playing a beautiful passage, a recollection, so to speak, of better days, until eventually he falls down, apparently dead. A morbid piece! The performance directions call for defective rolling of the tongue, slack lips, weak note entrances, depressed breathing, broken double tonguing etc. Armin Rosin plays the work in the version which appeared in print and was arranged with the composer in 1974, the reproduction of which was authorised by Mauricio Kagel. Armin Rosin (Translation: Frederick A. Bishop) ·········· Armin Rosin was born 1939, and after passing his university entrance examinations, first studied the trombone at the Munich Academy of Music and later singing and conducting, as well as musicology and history at Erlangen University. At the age of 21 he was solo trombonist with the Bamberg Symphony Orchestra, and since 1968 with the Radio Symphony Orchestra in Stuttgart. He performs as soloist with many famous orchestras in concerts at home and abroad, does radio and television recordings with all German and many foreign radio stations, and so far has made twelve solo long-playing records. He has sat on the jury in important competitions, lectures at international music courses, and January, 1980 was appointed professor at the Stuttgart Academy of Music. He has been awarded several music and art prizes.