"Great War Sextet" for Trombone and Strings
Posted: Mon May 14, 2018 8:58 pm
Dear Trombone Forum,
I hope this message finds you well. My name is Benjamin Sajo, a composer. I'm looking for a collaborator/champion of a major work I've recently completed after several years, on and off. It's a setting of five poems by Commonwealth (4 Canadian and 1 Australian) soldiers who died in Europe during World War I, including "In Flanders Fields".
I'm very happy to have found you people! I've been shopping around for quite a while but have yet to find any players ultimately willing to take this project on. All the parts along with the score are attached.
Below are the program notes:
"The music sets the poetry of five Canadian and one Australian poet who partook in world
war I. These poems come from the compilation, We Wasn’t Pals: Canadian Poetry and Prose of
the First World War, edited by Barry Callaghan and Bruce Meyer (Toronto: Exile Editions Ltd.,
2001). Stylistically, the music draws inspiration from the turn of the twentieth century and
expresses a duality between neo-Romantic sentimentality and expressionist grotesque. Just as
the First World War bridges the modern age, thusly does this music seek to evoke the zeitgeist of
the times.
1. John McCrae, "In Flanders Fields” — pneumonia 1918
2. W.W.E. Ross, “Soldiery” —survived war.
3. H. Smalley Sarsom, “Love Song”— Wounded at Ypres, 1916
4. William H. Ogilvie, “Canadians” — survived war.
5. Bernard Freeman Trotter, “Smoke”— killed in action, 1917
6. A. Audet, “No Man’s Land”— survived war
The trombonist of this work represents the wayfaring protagonist soldier; his instrument
his gun. The strings evoke both the literal sounds of the world around him—rustling winds, a
nightingale, explosions—and the inner emotions such situations evoke—nostalgia, terror,
serenity. Both the trombonist and string quartet use their bodies along with normal, instrumental
technique, to create unique sounds and theatrical effects: marching on the spot and drumming on
their instruments primarily. Each movement begins with the poem presented as dry recitative by
the ensemble, followed by the more musical interpretation."
There is no midi sample available. Feel free to print and try it out on your own! Let me know what you think! I'm based in Ottawa, Canada; if you're near, let's go for coffee.
Thank you for your time,
Ben
I hope this message finds you well. My name is Benjamin Sajo, a composer. I'm looking for a collaborator/champion of a major work I've recently completed after several years, on and off. It's a setting of five poems by Commonwealth (4 Canadian and 1 Australian) soldiers who died in Europe during World War I, including "In Flanders Fields".
I'm very happy to have found you people! I've been shopping around for quite a while but have yet to find any players ultimately willing to take this project on. All the parts along with the score are attached.
Below are the program notes:
"The music sets the poetry of five Canadian and one Australian poet who partook in world
war I. These poems come from the compilation, We Wasn’t Pals: Canadian Poetry and Prose of
the First World War, edited by Barry Callaghan and Bruce Meyer (Toronto: Exile Editions Ltd.,
2001). Stylistically, the music draws inspiration from the turn of the twentieth century and
expresses a duality between neo-Romantic sentimentality and expressionist grotesque. Just as
the First World War bridges the modern age, thusly does this music seek to evoke the zeitgeist of
the times.
1. John McCrae, "In Flanders Fields” — pneumonia 1918
2. W.W.E. Ross, “Soldiery” —survived war.
3. H. Smalley Sarsom, “Love Song”— Wounded at Ypres, 1916
4. William H. Ogilvie, “Canadians” — survived war.
5. Bernard Freeman Trotter, “Smoke”— killed in action, 1917
6. A. Audet, “No Man’s Land”— survived war
The trombonist of this work represents the wayfaring protagonist soldier; his instrument
his gun. The strings evoke both the literal sounds of the world around him—rustling winds, a
nightingale, explosions—and the inner emotions such situations evoke—nostalgia, terror,
serenity. Both the trombonist and string quartet use their bodies along with normal, instrumental
technique, to create unique sounds and theatrical effects: marching on the spot and drumming on
their instruments primarily. Each movement begins with the poem presented as dry recitative by
the ensemble, followed by the more musical interpretation."
There is no midi sample available. Feel free to print and try it out on your own! Let me know what you think! I'm based in Ottawa, Canada; if you're near, let's go for coffee.
Thank you for your time,
Ben