Sonata Rhapsody “The Arch”

Sonata Rhapsody “The Arch”
For Bass Trombone and Piano
Adapted for bass trombone and wind ensemble in 2014

Duration: 18′

Video with St. Louis Arch – construction images
(based on the work of Maureen Byrne, created by Andy Schiefelbein; performed by Gerry Pagano, bass trombone; Peter Henderson, piano)

Program Notes

In the fall of 2009, after having heard some of my music at Interlochen, St. Louis Symphony’s bass trombonist, Gerry Pagano, contacted me with the idea of writing a new sonata for him. It wasn’t until several months had passed that the piece got written (Gerry is a patient man!), but a phone conversation with him in early June, 2010, sparked an immediate inspiration for the piece, and two weeks later, the piece was done. Gerry had mentioned offhandedly that it would be nice to have a piece that would somehow represent where he lived and worked, so therefore…

The entire piece is one big Arch. (Wonder where I got that idea!!) I am big on symbolism in my music, and this seemed the perfect opportunity.

Almost every phrase is a miniature arch. They start low, rise up, and return almost to where they started. This happens in both the solo part and the piano part. Even just the opening 6 notes, the way the slur is written over it: it visually looks like an arch.

And there’s more.
Here are some facts about the St. Louis Arch, and how they inspired me musically:

It was designed by Eero Saarinen. If you take the ‘E’s and ‘A’s in his name, they inspired the very first phrase in the solo part.
The piece does begin in A, though I kept it ambiguous on purpose – an effort to capture how anyone must feel when first designing and building a structure that large and permanent. Will this work? Will people ‘get it’? etc…

The outer width of the arch is 630 feet. The piece is 630 measures.

The width of each base is 54 feet. You’ll notice that the opening section is 54 measures, and so is the last section. The first and last measures are also 5/4 bars, so as to further the symbolism.

The dimension at the top of the Arch is 17 feet. So, the climactic section of this piece is 17 measures. I had to add one measure, however, and here’s why:

The piece is very symmetric, so as to recognize the sections of the arch that were constructed. After the first 54 bar section, each successive section “on the way up” is 64, 64, 64 and 60 measures before finally arriving at the climactic 17 measure (+1) top. I had to add that one extra measure so that the total count of 630 could be divided evenly in two. That middle 17 measures throws that off unless I add one more. The optional high Bb for the soloist at the end of that section is the highest note in the piece. It’s not the EXACT middle of the piece – I had to take a little liberty there. After that climax, the sections repeat themselves, but in reverse: 60, 64, 64, 64 and the final 54. I found that this symmetry provided sonata-like options for repeating previously heard material.