Dr. David Mathie
Trombonist, Professor, Arranger
Beethoven - Drei Equali
(in two versions: original keys and clefs; transposed M2 lower and bass clef only)
1. Andante
2. Poco Adagio
3. Poco Sostenuto
Trombone Quartet/Choir
Difficulty Level for Original version: College/Professional
1. Original version: alto clef in Trombones 1,2; tenor clef in Trombone 3
2. Original version: Trombone 1 up to high c
3. Trombone 4 part does not require a bass trombone
Difficulty Level for Transposed version: High School/College
1. All parts in bass clef
2. Trombone 1 up to high Bb
3. Trombone 4 part does not require a bass trombone
Published by Cherry Classics, Catalog Number CC2475
Click below to hear Movement 1
Click below to hear Movement 2
Click below to hear Movement 3
ABOUT THE MUSIC
Equali were works written for equal, or similar, instruments; in the eighteenth century they were almost always used for funeral services and usually employed a quartet of trombones. The most famous of these were the three Beethoven wrote for the Linz Cathedral in Austria on All Soul’s Day 1812. Two of these were adapted later for male voices and were sung at Beethoven’s funeral.
These pieces are some of the most famous works for trombones, no doubt due to the fact that they were composed by Beethoven. They were commissioned by Franz Xaver Glöggl, Kappelmeister of the city of Linz, while Beethoven was visiting his brother. According to later accounts by Glöggl’s son, although his father had a complete collection of trombones (soprano, alto, tenor, bass or quart) the three Equali were performed by a traditional quartet of alto, tenor and bass trombones.
Why another edition of these works, given that any enterprising trombonist may find them in the complete works on page 315? First, the originals contain technical challenges for all but the most experienced players. The first part reaches a high C in the third movement, plus numerous B flats in the first, and the second movement is in D major, a key that makes good intonation a challenge. Second, while the first movement is thoroughly marked in terms of dynamics, expressive indications and other musical suggestions, the last two are completely without such markings (save for the dolce indication in the second). Trombone tradition usually presents the last movement as a pesante finale, but determining the nuances of the second movement often makes for long rehearsals. Also I believe many editions have succumbed to the practice of overediting. Finally, the alto clef in the first and second parts, and the tenor clef in the third part make the original inaccessible to many trombone choirs.
This edition offers a compromise: the original score and parts are given exactly as written in the complete works, and a version designed for the less experienced players: the three movements are transposed down one step, edited with minor musical suggestions, and all four parts are written in bass clef.
Equali were works written for equal, or similar, instruments; in the eighteenth century they were almost always used for funeral services and usually employed a quartet of trombones. The most famous of these were the three Beethoven wrote for the Linz Cathedral in Austria on All Soul’s Day 1812. Two of these were adapted later for male voices and were sung at Beethoven’s funeral.
These pieces are some of the most famous works for trombones, no doubt due to the fact that they were composed by Beethoven. They were commissioned by Franz Xaver Glöggl, Kappelmeister of the city of Linz, while Beethoven was visiting his brother. According to later accounts by Glöggl’s son, although his father had a complete collection of trombones (soprano, alto, tenor, bass or quart) the three Equali were performed by a traditional quartet of alto, tenor and bass trombones.
Why another edition of these works, given that any enterprising trombonist may find them in the complete works on page 315? First, the originals contain technical challenges for all but the most experienced players. The first part reaches a high C in the third movement, plus numerous B flats in the first, and the second movement is in D major, a key that makes good intonation a challenge. Second, while the first movement is thoroughly marked in terms of dynamics, expressive indications and other musical suggestions, the last two are completely without such markings (save for the dolce indication in the second). Trombone tradition usually presents the last movement as a pesante finale, but determining the nuances of the second movement often makes for long rehearsals. Also I believe many editions have succumbed to the practice of overediting. Finally, the alto clef in the first and second parts, and the tenor clef in the third part make the original inaccessible to many trombone choirs.
This edition offers a compromise: the original score and parts are given exactly as written in the complete works, and a version designed for the less experienced players: the three movements are transposed down one step, edited with minor musical suggestions, and all four parts are written in bass clef.