Fantasy for Trombone Op. 42 (1947)
A graduate of the University of Newcastle with a Bachelor of Music, Colin is currently studying for a Master of Music at Sydney Conservatorium. His competition successes include winning the National Junior Trombone Champion in 2007, 2008 and 2009 and the National Open Trombone Championship in 2009. Colin has performed as concerto soloist with the SBS Youth Orchestra, Newcastle Festival Opera Orchestra and the University of Newcastle String Orchestra. Additionally he has played Principal Trombone with the SBS Youth Orchestra, the Sydney Youth Orchestra, at the Bishop Orchestra National Music Camp, Australian Youth Orchestra (Season One). He is the recipient of a Tasmanian Symphony Orchestra Wind Brass and Percussion Fellowship and has been part of the Melbourne Symphony Orchestra Career Development programme.
What is your favourite Concerto?
In terms of the trombone repertoire, I am particularly interested in concerti composed in the 20th and 21st centuries. There have been many great works for trombone written during this period including concerti by Paul Creston, George Walker, Christian Lindberg and Luciano Berio. My favourite at the moment is the concerto by Christopher Rouse. In terms of concerto repertoire for any instrument I would have to say the Mendelssohn and Sibelius violin concerti.
Playing with the Tasmanian and Melbourne Symphony Orchestras has been a terrific experience.
What inspired you to choose/compose this piece?
There was a time where the trombone was considered an unusual instrument for which to write a solo work. As a consequence, some pieces for trombone are rather "light-hearted" in nature. When choosing repertoire these days I try to find pieces that use the trombone voice to say something more serious musically. In my opinion Creston's Fantasy for Trombone and Orchestra is one such piece, along with others like the concerto by Christopher Rouse.
What should the audience look out for when listening?
Creston was very interested in how rhythm is used in composition. Consequently, he tends to be quite innovative in his approach to rhythm. The outer sections of his Fantasy for Trombone are imbued with a sense of energy derived from driving rhythms and accents. Also, listen out for his "impressionistic" use of harmony, which I believe is rather beautiful.
How has technology changed your relationship to making and listening to music?
In terms of listening to music it's very easy to always have your collection with you on an iPod or similar device. I remember having to take around all these CD's – it was a pain. Digital recording equipment is something I use often in my practice. Singers and many wind instrumentalists can never truly hear what they sound like while playing, due to vibrations transmitted through the skull. For this reason it's good to periodically check things out with the recorder. In terms of repertoire, there have been a series of new pieces for instrument and soundtrack written by Dutch composer Jacob Ter Veldhuis. He takes fragments from documentaries and arranges them into a a soundtrack which the instrument plays along with. Many of us are familiar with his "Grab it" for Tenor Saxophone, however he has written a work for trombone and I can't wait to play it!