Putting together a recital program - Looking for advice, critiques, thoughts, etc.

[TexasTBone]

I'm a longtime player who finally went back to school get a music degree. I'm at a community college because life doesn't afford me the luxury of attending a 4-year school. I am continuing for a third year due to some synchronous scheduling challenges in my first year, so I am putting together an independent recital that will serve as an unofficial junior recital and celebration of my graduating. The plan will be to play tenor, bass, and alto.

So far, my tentative program is this:

Reflective Mood (Nestico) on tenor w/ piano
Höre mit Sinn from Götterdämerung (Wagner) on alto w/ piano
Concertino (David) on tenor w/ piano
Meat Salad (Hopson) on bass, unaccompanied

The David is on there because I expect that will be one of my assigned works for a jury or student recital this year. I know it lands me with two Romantic period pieces and is also very traditional (dare I say cliché?). I may end up selling Meat Salad as my jury piece for this semester. My thought process was largely to have contrasting styles and mix traditional selections with contemporary pieces that might be more fun or interesting to the audience. I feel like there is a need to perform at least one piece of “standard” lit. My Summer teacher told me I should always program a Baroque work for a recital.

All in all, this is about 30 minutes of music, so in considering Baroque music, I was wondering if it might be prudent to look at a Bach cello suite or a similar unaccompanied work and do that on bass to sort of balance out the program, but the cello suites don’t really utilize the lower range that would make bass the most appropriate choice. Does it matter that much? Is there something else I should consider?

Alternatively, I could change the alto selection to “Dido’s Lament” by Purcell instead of adding a fifth piece. If I add a piece, I think it should be unaccompanied so as not to overload my accompanist (and cost me more). Or … I could play Dido’s Lament on bass as a lyrical contrast to the technicality of Meat Salad, but it would add additional work for my accompanist.

I want to be careful about taking on more than I can reasonably handle and prepare in just 8 months, and I fear a Bach cello suite would do that. I have never programmed a recital like this and my college has not historically presented recitals like this, so I want to make good decisions that will help me put on the best show possible.

[hyperbolica]

Personally, I would add a small ensemble piece. Like a trombone quartet. Pick a jazz piece, or something light hearted in any case. It's relatively easy to prepare for, and its impact on the overall performance is disproportionately high. It's a great way to end a recital, especially if your chops are shot.

[WilliamLang]

If I may, I think it's nice to have a piece or two be from a traditionally underrepresented composer. There are a lot of cool pieces out there by women, and BIPOC composers that could help you will out your offering.

The Baroque era is a little harder to find music from in this vein, but composers like Barbara Strozzi, and if you're willing to go further back and do your own arranging, Hildegaard and Beatriz, all have pieces that could be worked in.

Food for thought! Hope your recital goes well, and if you don't like these suggestions, there are lovely baroque pieces like the Vivaldi Cello Suites and Marcello/Telemann Bassoon Sonatas that are worth thinking of in addition to Bach.

[TexasTBone]

Personally, I would add a small ensemble piece. Like a trombone quartet. Pick a jazz piece, or something light hearted in any case. It's relatively easy to prepare for, and its impact on the overall performance is disproportionately high. It's a great way to end a recital, especially if your chops are shot.

My hangup with that is I have to pay the musicians, unless i can recruit some students.

[TexasTBone]

The Baroque era is a little harder to find music from in this vein, but composers like Barbara Strozzi, and if you're willing to go further back and do your own arranging, Hildegaard and Beatriz, all have pieces that could be worked in.

Strozzi is a great suggestion. I really like some of her work, and it's perfect for a lyrical bass piece to contrast with Meat Salad.
I'm definitely willing to do my own arranging. The Wagner is my own arrangement.

[Kdanielsen]

Consider the hassle of practicing and hauling around three horns.

[GabrielRice]

You don't have to program an entire Bach cello suite for it to be an effective and enjoyable addition to a recital. I like to do the Allemande, Sarabande, and Menuets from Suite 2. Could be on bass, could be on tenor.

Another Baroque selection could be one of the Galliard Bassoon sonatas, and again it could be on bass or tenor.

Will's suggestion of an underrepresented composer is an excellent one. One of my students did a really nice piece for tenor trombone and piano by Barbara York called A Caged Bird, and there is also a version for bass trombone. She also wrote a bass trombone concerto.

Another female (and Canadian) composer with a few pieces for bass trombone is Elizabeth Raum. Her bass trombone concerto is very accessible both to play and to listen to.

[harrisonreed]

I would be very very reluctant to program the David for a recital with piano. Any concerto after the classical period, for that matter. Who cares if you have to play it at some point during school -- it's an indie recital, so play for the audience. If it's mostly trombone players ... I dunno, do a poll, but I'd wager not many want hear that piece in a recital setting. If it's non-trombone players, there are so many pieces that would work better, like the Weber romance.

[Crazy4Tbone86]

I agree with Harrison on the David Concertino……it’s a bit much and the piano reduction of an orchestral score is not always effective. If you want to stick with the David, consider playing only the 2nd and 3rd movements. From an audience standpoint, it is much more concise and digestible. I agree that the Weber Romance is a beautiful piece that has audience appeal…….I even played it as prelude music at my brother’s wedding!

A bigger concern for me in your proposed program is the plan for playing three different horns on the same recital. It is difficult for a seasoned professional to play two different horns on a recital. Three horns seems unnecessary and possibly risky. To quote one of my teachers…….”it is better to be a master of one trade than a Jack of many trades. In the music business, a Jack can quickly turn into a Jackass.” He strongly believed it was best to stick with one horn and refine your art to the highest level.

[harrisonreed]

I agree with Brian and the horn thing. Unless if you can really bring it to the table on all three, I'd leave at least one of those off the table, if not both alto and bass.

[mbarbier]

The Vivaldi cello sonatas work really well on trombone, aren't wildly face intensive, and tick a similar box. The CPE Bach sonata for solo flute is a really nice one that works well- easy to read the original off of Imslp or Ralph Sauer's edition in a different key (though he kinda oddly changes movement order).

Agreed with Will about having something (or more than just one) by and underrepresented composer is important. In addition to the above suggestions there's also a very recently (last two weeks) collection of solos by a group called "Diversify the Stand" that has a great mix of works.

[TexasTBone]

A bigger concern for me in your proposed program is the plan for playing three different horns on the same recital. It is difficult for a seasoned professional to play two different horns on a recital. Three horns seems unnecessary and possibly risky. To quote one of my teachers…….”it is better to be a master of one trade than a Jack of many trades. In the music business, a Jack can quickly turn into a Jackass.” He strongly believed it was best to stick with one horn and refine your art to the highest level.

I understand this and have had some reservations. The path I'm pursuing is specifically to be a doubler on bass and tenor, so those two are in no matter what. Alto is something my prof and I discussed as a means to show the audience (most of whom will be students) that there's more to trombone than just tenor and bass. Community college students don't typically get the exposure to alto and contrabass that 4-year students get. The first time I brought my alto to studio, they were all, "WTF is that?" With that in mind, the piece selected for alto will be limited to something non-technical that isn't very demanding and gives me time to really concentrate on its differences. I can always decide to drop it over the next 8 months.

[TexasTBone]

I would be very very reluctant to program the David for a recital with piano. Any concerto after the classical period, for that matter. Who cares if you have to play it at some point during school -- it's an indie recital, so play for the audience. If it's mostly trombone players ... I dunno, do a poll, but I'd wager not many want hear that piece in a recital setting. If it's non-trombone players, there are so many pieces that would work better, like the Weber romance.

I think you make a very good point. The audience will not be mostly trombone players, but there will be some local professional players attending who will undoubtedly be using this as an opportunity to decide if they think I'm worthy to be working with them (translation: don't embarrass myself). I've honestly struggled with what to program because there's part of me that says it should be formulaic with one selection from each period and cap it off with something fun - like that's what's expected of me, and my prof has been pushing that formula as well. Regardless, I do think it should be on-par with a typical junior-level recital.

I was initially hesitant to program the Nestico and Hopson together, but I really like them and I think the audience will like them. It's everything else that I've had a really hard time deciding on, and now that the semester has started, I have to get this thing finalized so I can begin shedding. I considered the Lebedev as my standard rep and an aria from Alexander Nevsky, but was very strongly discouraged from programming anything Russian for the time being. I was also told no Hindemith and no Sulek for the sake of my accompanist. It may be independent, but I still have to get buy-in from the college.

I did consider doing an all-modern program. For example, instead of an operatic aria on alto I would do some Broadway like "Maria" from WSS or "Yoda's Theme" - things the audience would recognize. I did the William Grant Still Romance my first year and could bring it back. The problem with an all-modern program, in my mind, is that a lot of the more technically challenging music that would contrast with lyrical stuff is virtuosic for the sake of being virtuosic and often isn't good music. I don't think my audience will have the appreciation for it that other trombonists might.

One question I have been trying to answer is what I can play that demonstrates my ability to be a proficient and effective working musician out in the community. Sure, the David and Lebedev are both standard audition rep, but my goal as a professional is to be an ensemble player, not a soloist.

I've never done this before, so I really appreciate all the advice I'm getting from everyone.

[hyperbolica]

One question I have been trying to answer is what I can play that demonstrates my ability to be a proficient and effective working musician out in the community. Sure, the David and Lebedev are both standard audition rep, but my goal as a professional is to be an ensemble player, not a soloist.

I've never done this before, so I really appreciate all the advice I'm getting from everyone.

In the working musician world (outside of academia), you don't see these solos. Working trombonists play wedding quintet gigs, jazz combo, big band, Ska horn section, small orchestra Easter gigs, brass section Christmas tunes, dixieland at a clam shucking... Ensembles. You know the answer. Round up some students and play something fun. It's not a formula - the alternative is to play something not fun. You can't appeal to working musicians by being not fun.

[LeTromboniste]

I tend to agree with the advice above. Every recital that I've enjoyed listening to was at least partially out of the box, and there was a concept or a logic to the succession of pieces. You have the luxury of doing this recital "for fun" and not as a school requirement with boxes to tick. Make it a good show. I bet the local professionals you hope to impress will appreciate a fun, artistically compelling (and of course well-played) programme more than hearing you play pieces that you don't particularly want to play, assembled together in a way that "ticks the boxes". Of course that's not mutually exclusive with having a programme with pieces all from different eras or standards.

[TexasTBone]

Had a long discussion with my trombone prof today and now I'm even less sure of what to play. With what I'm trying to do professionally, he told me I need to get away from solo lit, but how do I put on a recital without playing solo lit? We tossed the David and he really wants me to toss Meat Salad because I'm "never going to play anything like that in an orchestral or ensemble setting." Not surprisingly, he wants me to also drop plans to play alto. He talked about needing to focus on excerpts for orchestral playing, but didn't have a good answer for how I turn excerpts into recital material. Overall, he recommended lowering the difficulty level of my program, no matter what it ends up being.

His most pointed advice: It has to be great, because if it's good, none of the pros will forget that it wasn't great and no one will hire me.

One thing we did decide on was that I would program William Grant Still's Romance. We also agreed I would look toward music I won't be learning for the first time. I'm thinking of dusting off a medley from West Side Story I used for the recording that got me accepted to Berklee, which I could not afford to attend. It might be a nice homage to what could have been.

Why does this have to be so frustrating?

[LeTromboniste]

but how do I put on a recital without playing solo lit?

Put together an ensemble for your recital. Play some nice music, and show that you prepared the group well and can lead from within the group (and underestimated skill).

[Kdanielsen]

You don’t turn excerpts into recital rep. I think that’s your teachers point.

It seems like your goal for this recital is to impress local pros. I sorry to say it, but the chances that any local pro is going to show up are almost zero. Pick music you can sound great on, put up a few selected videos on FB (if they are GREAT). Someone might notice something that way. Then practice the hell out of your excerpts and david and take a lesson with the pro who you hope might throw some work your way (the lesson is an informal audition).

[GabrielRice]

Kris is right on.

[GabrielRice]

I'm going to disagree with your teacher on a couple of points though.

If you are planning to take orchestral auditions, I think you should program the David. It's the most commonly asked solo, and having performed it with piano will help you. In that vein, I would suggest also programming the Sachse - the standard bass trombone audition piece in Europe if not the US - on bass trombone. Neither one is the best piece of music in the world, but they are much more meaningful with accompaniment than without. Alternately, you could do Lebedev (either the cto in one movement or the Concert Allegro, which I like better). Round out the recital with music you really love.

OR...just play a recital of music you really like and will enjoy preparing. Forget about formulas.

[harrisonreed]

His most pointed advice: It has to be great, because if it's good, none of the pros will forget that it wasn't great and no one will hire me.

Some of the whackest advice I've ever heard. He's right that it has to be great, but....

[GabrielRice]

I'm going to disagree with your teacher on another point, actually, and this one is a can of worms. I expect many will disagree with me.

I care how well my colleagues play excerpts if I'm on an audition committee, and that's it. And the only reason I care is that the audition is the best - though clearly flawed - method we have for a job interview for a performing job in an orchestra.

When the time comes to putting together a sub list, I care a LOT MORE about what it's like to sit next to that person in an ensemble. Do they play in tune? Do they play in time? Do they listen well and adjust for pitch, rhythm, phrasing, note lengths and shapes, balance and dynamics? Are they flexible to play in varying styles? Do I feel like they are listening to me, or are they just playing their own part the way they think it goes? When it comes time for them to play a solo, even for a few notes, do they go for it and play with imagination, or do they play timidly and without opinion? Do they come prepared? Do they sight read well?

For me, the most important skills for a working musician are not developed by practicing excerpts but by playing a lot of chamber music.

[hyperbolica]

Make excerpts part of a recital by putting together a section and playing the excerpt in context. Or at very minimum music minus one.

I think you're frustrated because you're resisting the idea of ensemble. One way to get pros there is to invite them. If you have to pay them to play with you, think of it as paying for a lesson, along with the rehearsal.

Drop the academic requirements and this becomes a fun and Interesting opportunity.

[LeTromboniste]

I'm going to disagree with your teacher on another point, actually, and this one is a can of worms. I expect many will disagree with me.

I care how well my colleagues play excerpts if I'm on an audition committee, and that's it. And the only reason I care is that the audition is the best - though clearly flawed - method we have for a job interview for a performing job in an orchestra.

When the time comes to putting together a sub list, I care a LOT MORE about what it's like to sit next to that person in an ensemble. Do they play in tune? Do they play in time? Do they listen well and adjust for pitch, rhythm, phrasing, note lengths and shapes, balance and dynamics? Are they flexible to play in varying styles? Do I feel like they are listening to me, or are they just playing their own part the way they think it goes? When it comes time for them to play a solo, even for a few notes, do they go for it and play with imagination, or do they play timidly and without opinion? Do they come prepared? Do they sight read well?

For me, the most important skills for a working musician are not developed by practicing excerpts but by playing a lot of chamber music.

100% this.

[harrisonreed]

I'm going to disagree with your teacher on another point, actually, and this one is a can of worms. I expect many will disagree with me.

I think you hit the nail on the head. 100% agree. There are too many players who know the excerpts..... And NOTHING else.

As for playing excerpts in a recital.... Please no.

It has to be about the music, and showing that music to the audience. Only ever about the music. Excerpts don't do that. Even with a whole section playing excerpts, if you put that up on stage and present that in a recital format, you're turning whatever piece into a circus show. Planning your recital around impressing local pros to get gigs is flawed, from the getgo.

The recital IS a gig. The program, flyers, whatever, needs to entice people to lay down some scratch and check it out. Otherwise, it is better to just enter a concours -- winning one of those would impress people and get you jobs. Probably the only way soloistic type stuff would jumpstart a career on its own.

[TexasTBone]

I sorry to say it, but the chances that any local pro is going to show up are almost zero.

There are three who have already said they will attend, including one I took lessons with over the Summer.

[TexasTBone]

Put together an ensemble for your recital. Play some nice music, and show that you prepared the group well and can lead from within the group (and underestimated skill).

As of right now, because it's not an official college event, anyone who performs other than me has to be paid, even if they are students or friends I recruit. The college may provide the venue at no cost, but will not cover any accompanist fess or other costs and will not require or encourage other students to participate (because it could compete with their own studies). There can be no cost to attend. It could get very expensive very quickly if I start adding a bunch of additional musicians or if the college decides I have to do this off-campus. That's why my focus has been on solo lit with piano or unaccompanied. The requirements are tricky because what I'm trying to do is simply not something the college does. I can go off-campus, but venue fees aren't cheap and we don't have a lot of good smaller venues that would be suitable.

To be honest, I feel like there's a lot of pressure for me to prove myself because I'm about to graduate with an AA and the likelihood of me having the ability to attain any higher degree in performance is virtually zero. People look at community colleges and AA degrees like they are just garbage and I don't want people looking at me and saying, "oh, he's got an AA from a community college; he must suck."

Maybe I'm being irrational about it. Maybe the whole thing was just a bad idea from the beginning. I kind of got that impression from the pushback my trombone prof gave me - He doesn't understand why this is important to me. Perhaps I'm better off concentrating on one solid work for the honors recital and then after I graduate seeing if one of the orchestras I play in or my community band will program a work like the David, Sachse, or Lebedev with me as a featured soloist.

[Glennlewis]

We are in a very similar position. I went back for a music degree at the community college and finished an AA in May. However, since I already have a BA none of the public universities near me would allow me to transfer in.

So the community college is allowing me to continue with applied music as independent study classes.

I am looking at the Sulek this semester as my primary piece but I may need to find my own collaborative pianist.

The Rimsky-Korsokiv was a great piece but if you think you shouldn’t do a Russian piece maybe the Cavatine Saint-Saens. Yes my pianist hated the Hindemith, they might be more forgiving if you just do the first movement.

The David was perfect as my primary piece my 4th semester.

Good luck!