The last movement is quite virtuosic, calling for much endurance, agility and extended range from the soloist.
An interesting device only used in the slow movement is the introduction of a separate trio of players, who interrupt occasionally with their off-kilter fragments, almost a skipping old record-player. More technically speaking, the movements themselves are pretty standard in form, with themes, ideas and harmonies recurring and developed throughout the piece to form a consistent whole. Lastly, it was my goal to allow for the solo bass trombone to be featured in a manner inconsistent with the often misguided preconceptions: at the request of the dedicatee and co-commissioner, Matthew Guilford, the instrument is presented lyrically, and the upper range is displayed equally, if not more than, the lower. It is not the most common choice for a concerto. One might argue also that composing a bass trombone concerto, in and of itself, is a ‘road less taken’. The Road Not Taken which seems to shift the poems focus from non. Having been comfortably situated in two steady performing jobs for almost 20 years, my wife and I decided to quit, move to a completely different location, and follow my new-found passion for composing. The more I thought about it, the more connections I began to realize between my musical life, this piece, and the title.įirst of all, in my own life, I have chosen the less traveled path. This title didn’t really hold much water for me, and after a bit of stretching and re-working, I arrived at the current title, based obviously on Robert Frost’s famous poem. Much of the piece is based on off-beats, set in many different forms therefore my working title was always “Off the beaten path”. The title for ‘Road Not Taken’ was arrived upon after completion of the score, and in a rather ‘wandering’ manner. Scored for Solo Bass Trombone and 11-player Trombone Ensemble: Elaborate in about 150 words in relation to the poem, The Road Not Taken. Making choices seem to a part of everybody’s life. Discuss the anticipation or remorse in The Road Not Taken 14. (Post-production note: contemporary American poet Ben Lerner's The Hatred of Poetry makes for a timely addition to the essay's bibliographic suggestions and also may impart something like a critical mass to the essay's approach to teaching in the rift between poetic ontology and historical poetics.Concerto for Bass Trombone and Trombone Ensemble – piano reduction done by the composer May 6, 2011 What message does Robert Frost give to his readers through his poem ‘The Road Not Taken’. I discuss Virginia Jackson's influential and compelling anti-lyric anti-theory-Jackson's version of the resistance to theory-as it presents a teachable conflict with the Romantic "literary absolute." The essay ends by reconsidering the metonymic linkage between the position of Romanticism and the position of poetry/ literature/ the Humanities in the institution of the contemporary university, and with brief suggestions for lesson plan ideas and student readings. It moves from a narrative introduction on Robert Frost's very material practice of "lyric overhearing" on his Derry, New Hampshire party-phone line, to extended consideration of the recent scholarly turn to historical poetics in the study of nineteenth century British and American Poetry. It demonstrates the use and interest of teaching the debated concept of lyric ontology in the Romantic Poetry classroom across undergraduate and graduate levels. This essay appeared in the collection Teaching Romanticism and Critical Theory, edited by Brian McGrath (a Romantic Circles Pedagogies Commons Special Issue, Dec. At the end of the same stanza the speaker recalls his grief "as the hope-hour stroked its sum," and in the second stanza he refers to himself, wistfully, as "a time-torn man." Time and the woman are against him, no less than Nature and the woman in "Neutral Tones." The luxuriant self-pity of these lines, their dignified indignation at the woman’s lack of “pure lovingkindness,” anticipates the mature work of Yeats. "You did not come," the poem begins, "And marching Time drew on, and wore me numb…" Set in grammatical parallel, the inaction of "you" and the action of "Time" conspire to disappoint. In "A Broken Appointment," which finds Hardy’s speaker quarreling with a woman over an unrequited love, it’s Time in particular that allies with the Other. His poems tend to know where they stand, and argue with each other more than with themselves: that is the source of their limitations but also of their pugnacious greatness. Abstract That is, he rarely brings such markedly clashing attitudes into close conjunction. Released in 2022: Two roads diverged in a yellow work, and I chose the one less traveled by.
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