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Go to Franck Dm Symphony Excerpt 2 | Return to Handbook Table of Contents
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The Franck Symphony in d minor has many passages that could be asked at an audition, but this is one of the most commonly requested.
This passage calls for a large, full sound, notwithstanding the fact that Franck wrote the piece for a section of three tenor trombones (the bass trombone was virtually unknown in France until recent decades). Franck was a French romantic, and while most conductors treat the Symphony in a heavier, more Germanic style, there is something to be said for a performance that is keeping more with the transparent quality of the orchestra Franck probably had in mind.
It is true that if you play this excerpt as loud as you can you will end up sounding softer than you could if you played less. Strive for a sound that preserves as much fundamental of your sound - blasting will simply add overtones that will disguise the core of the sound, fragmenting the sound and resulting is a less "massive" quality. Remember, except for measure 7, the whole passage is in unison for three trombones with the tuba doubled an octave lower. In section unison playing, less IS more.
Since the first and second trombones and tuba drop out in measure 7, add a little crescendo into the downbeat of measure 8 to keep the line moving. Remember, too, to hold out the last note (measure 13) full value with no loss of dynamic or intensity.
Get the score and study the many other passages from this symphony that could be asked at an audition.
The classic recording of the Symphony with Pierre Monteux and the Chicago Symphony remains a safe selection - Edward Kleinhammer is the bass trombonist. The recent recording with Seiji Ozawa and the Boston Symphony (trombones: Ronald Barron, Norman Bolter, Douglas Yeo) has the advantage of being coupled with the Poulenc Organ Concerto.
To download the music of this excerpt as a PDF file which may be read and printed in a high quality output with Adobe Acrobat Reader (free software), click the icon below:
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