Double act

Giles SwayneGZ124
Solo trombone, flute/picc, clar/bass clar, trumpet, alto sax, perc(1), harp, violin, viola, cello, cbass | Duration 14 minutes

A miniature trombone concerto written in 2013 and commissioned by Clare College, Cambridge. It consists of a Prologue, ten mini-movements (which mostly run together), a trombone cadenza and a coda. In each mini-movement, one of the band acts as the trombone’s duet-partner; hence the title. The subtitles are: Secret Fugue (glittery percussion, trombone clowning); Sarabande (c’bass & trombone in ponderous coupling); Courante (clarinet flighty, trombone teasing); Serenade (trombone amorous, harp glamorous); Rough stuff (punch-up for trombone and trumpet); Remember me? – tragi-comic Dido’s lament (suicidal cello with impatient, mocking trombone); Two-part invention (violin and trombone gymnastics); Sentimental interlude (maidenly viola disgusted by trombone crudity); Flight (fluttery courting pigeons); Canzona (crooning song for trombone & sax). In the Prologue the trombone introduces each of the other instruments; then he moves around the platform, rousing his duet-partners to action by attacking, seducing or teasing them. He returns to centre stage for his closing cadenza and a plink-plonk cadence.

 

Double act was premiered at West Road Concert Hall, Cambridge on November 21st 2013. The solo trombonist was Michael Buchanan, and the performance was conducted by Patrick Milne. This performance can be heard and seen on YouTube.

Full score

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Trombone part only:

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Set of other (10) parts

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Elegy for a wicked world

Giles SwayneGZ051
Flute, Percussion (1 player), Violin, Viola, Cello, Bass | Duration: 13 minutes

Commissioned by the 2005 Yoxford Festival. First performed at St. Peter’s Church, Yoxford, Suffolk on 26th August 2005 by Anna Noakes, Gary Kettel, Jackie Shave, Clare Finnimore, Caroline Dearnley and Mary Scully. Swayne’s first instrumental chamber work for several years, this piece uses contrasted 8–note modes to create maximum diversity within an audible harmonic unity, and consists of a single sonata–form movement, framed by an introduction and coda which are dominated by the thudding of funeral drums. Written in the shadow of the London bombings of July 2005, it mourns the death of sanity and tolerance in world affairs.

  Score and parts

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