Gary Belshaw: On the Crosstown - Trombone Duet

On the Crosstown

Theatrical Duets for Tenor Trombone and Bass Trombone

Performances of the On the Crosstown “Theatrical Duets” are intended to provide performers with an opportunity, if desired, to do more than merely play a recital. A continuum of modes of performance is possible. One pair of performers may elect merely to organize chairs so as to imply a bus, train, or trolley as they perform the music. Other performers might secure a collection of props, such as grocery or shopping bags filled with a variety of consumer goods, and elements of costume, such as hats, coats or jackets, or scarves. At the other extreme lies a fully staged theatrical performance including sets, lighting, costumes, and effects. In any case, the performance should be staged in whatever mode suits the players. It seems most likely to the composer that the stage should include four pairs of seats or chairs, two pairs downstage, separated by an aisle, and the second pair immediately behind the first, and a ninth chair representing the driver’s seat. Instructions in the score refer to this ordering of seats.

The pretext for these “theatrical duets” is a glimpse into the kinds of persons one might encounter during a trip on an urban mass transit vehicle. It is not necessary that the players portray ten different characters; that one player remains in the same character for more than one movement may be entirely appropriate. For example, the “First Passenger” might very well be one of the “Blue Collars” as well as the “The Dullard.”

A benefit of a fully memorized performance is the freedom to roam the stage in character, unencumbered by music stands and sheets of paper. Memorization of the music, however, should not be construed as mandatory for performance.

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