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THE GUIDONIAN HAND trombone quartet

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ARTISTSArielbiography

Acclaimed by the New York Times for their “expertly played” performances

displaying “meaty lower brass textures,” the Guidonian Hand is New York

City’s leading modern trombone collective.

Tireless advocates for contemporary music, this adventurous ensemble collaborates fre-

quently with living composers, bringing to life compelling new works. They have commis-

sioned over a dozen new works and received grants from organizations such as Chamber

Music America, the Barlow Foundation, and New Music USA (formerly Meet the Com-

poser). The Hand has premiered works by Eve Beglarian, Conrad Winslow, J. Mark Stam-

baugh, Galen Brown, and Jeremy Howard Beck. Current commissions include pieces by

Mary Ellen Childs, Jeremy Howard Beck, Max Seigel, Christian Gentry, Tim Hanson, and

Alex Weiser, the group’s composer in residence for the 2012-13 season.

An exhilarating addition to New York’s vibrant music scene, the Hand has performed

extensively in the New York metropolitan area at such venues as the Lincoln Center

Chamber Music Society, Le Poisson Rouge, The Stone, The Juilliard School, Galapagos

Art Space, Roulette, Manhattan School of Music, The Tank, Mannes College of Music,

New York University, INTAR Theater, the Bang on a Can Marathon, the Tribeca New

Music Festival, and the Gershwin Hotel’s New Music series. In 2010, they appeared as

featured guest artists at the International Trombone Festival in Austin, TX. Upcoming

engagements include appearances at the Eastern Trombone Workshop and tours to California, Arizona, Pennsylvania, and Vermont.

In addition to modern literature, the Guidonian Hand gives a fresh voice to classical repertoire, juxtaposing art music of the past with

modern works. Programs frequently reflect eclectic and wide-ranging musical interests, from Bach to Mozart to Thelonius Monk to

Jacob TV. The Hand is passionate about creating original performance experiences that blend music with other art forms such as

film, dance, theatre, and spoken word. Recent collaborations include a concert that paired new music with machines constructed by

kinetic sculptor and MIT Artist-in-Residence Arthur Ganson.

Members of the Hand have performed with diverse ensembles in New York City and across the country, including Ensemble ACJW,

the Either/Orchestra, Tilt Ensemble, the Darcy James Argue Secret Society, the Shrine Big Band, Signal Ensemble, Argento, Wet Ink,

ACME, and numerous symphony orchestras including the Dallas Symphony, Pittsburgh Symphony, Pittsburgh Opera, Utah Sym-

phony, Verbier Festival Orchestra, Akron Symphony, New Hampshire Symphony, Rhode Island Philharmonic, Symphony in C, Canton

Symphony, Albany Symphony, and Vermont Symphony.

Dedicated to educating and inspiring young musicians, members of the Hand actively participate in community outreach and music

education through such organizations as Barge Music, the Bronx Charter School for the Arts, Kaufman School at Lincoln Center,

USDAN Center for Creative and Performing Arts, and Third Street Music School Settlement. They have also presented masterclasses

at various colleges and universities including the University of the Arts in Philadelphia and West Chester University.

Originally hailing from California, New York, Texas, and Utah, the trombonists of the Hand now call New York City home. They hold

graduate degrees from the Manhattan School of Music, New England Conservatory, and Mannes College of Music.

The Guidonian Hand is Mark Broschinsky, Will Lang, Sebastian Vera, and James Rogers.

PHOTO BY DAVID FINLAYSON



ARTISTSAriel

MUSICAL ODYSSEY

Franz Joseph Haydn, “Achieved is Thy Glorious Work” from The

Creation

Claude Debussy, Deux Chansons

Johann Georg Albrechtsberger, Kyrie and Credo from Mass in D

Eve Beglarian, In and Out of the Game

Galen Brown, Grind

W.A. Mozart, Requiem and Kyrie

J.S. Bach, Toccata

Jeremy Howard Beck, Awakening

Thelonius Monk, ‘Round Midnight

In their “Musical Odyssey” program, the Guidonian Hand explores

some of the most irresistible music of the past 200 years. Insightful

arrangements of Bach, Haydn, Debussy, and Mozart bring fresh life

to existing masterpieces. Set side by side these more established

works will be new and exciting pieces from living composers that will

soon join them in the canon.

EVOLUTION OF MINIMALISM


Philip Glass, Quartet

Michael Gordon, Low Quartet (ARR. MARK BROSCHINSKY)

Pérotin, Alleluia Posui Adiutorium (ARR. MARK BROSCHINSKY)

Galen Brown, Grind

Ingram Marshall, Fog Tropes

Follow the evolution of the most exciting new musical style to grow

in Western classical music during the 20th century: Minimalism.

Seen as an antidote to esoteric and more abstract classical music,

the “Evolution of Minimalism” program will lead the listener from

one of the style’s chief pioneers, Philip Glass, to his peers, stu-

dents, and others influenced by his break from the serialist tradi-

tion. There will also be a stop along the way to reference the great

medieval composer Pérotin, in whose music minimalist archetypes

can also be found.

STATE OF THE ART

Conrad Winslow, Pinning Music

Galen Brown, Grind


J. Mark Stambaugh, Splendor Solis

Michael Gordon, Low Quartet (AUTHORIZED ARRANGEMENT BY

MARK BROSCHINSKY)

Folke Rabe, Bolos

Jeremy Howard Beck, Awakening

With an insatiable appetite for the new, the Guidonian Hand

has sought out unheard works and actively commissioned new

music since its inception in 2008. The State of the Art program

features some of the Hand’s most compelling discoveries and

commissions, including captivating works by colleagues in New

York City. Listeners of all ages will be expertly guided on this

survey of contemporary frontiers and experience new forms of

beauty.

program offerings




ARTISTSAriel

THE RIVER PROJECT

In the fall of 2009, composer Eve Beglarian embarked on a four-

month-long journey down the entire Mississippi River by kayak

and bicycle, immersing herself in local histories and the writings of

those who had made similar journeys, including Mark Twain and

Jonathan Raban. During her trip through the heart of the country,

Eve kept a sonic journal about the people and places she encoun-

tered. These journal entries have evolved over the past several

years into the River Project: a collection of original compositions,

adventurous arrangements of river-related songs, images, videos,

and spoken-word readings.

Performances of The River Project are comprised of Eve Beglarian’s

ensemble BRIM (Eve Beglarian, Mary Rowell of Ethel, Taylor Levine

of Dither) and The Guidonian Hand trombone quartet. A musical

snapshot of contemporary Americana, selections from the River

Project have been performed at The Avant Music Festival, Bang

On A Can Marathon, Tribeca New Music Festival, Studio 360, and

more. Ariel Artists is excited to announce the availability of this

special touring project for the 2013/2014 season and beyond.

“Ms. Beglarian kayaked and bicycled the length of the Mississippi

River [and] has translated her findings into music of sophisticated

rusticity… [Her] earnest new Americana song cycle captures those

swift currents as vividly as Mark Twain did. The works waft grace-

fully on her handsome folk croon and varied folk instrumentation as

mysterious as their inspiration.”

– The New York Times

project offering

IMAGES COURTESY OF EVE BEGLARIAN



ARTISTSArielconcerto offerings

QUARTET WITH ORCHESTRAKoetsier, Concertino with String Orchestra

Premru, Music for Three Trombones and Tuba and Orchestra

QUARTET WITH WIND ENSEMBLE/BANDZacares, Oracles

TRIO WITH ORCHESTRABourgeois, Concerto for Three Trombones

Ewazen, Emerald Rhapsody

TRIO WITH WIND ENSEMBLE/BANDHartley, Concerto for Three Trombones

Bourgeois, Concerto for Three Trombones (ARR. FOR BAND BY COMPOSER)

additional offerings

CHAMBER MUSIC AND SOLO MASTERCLASSES

The Guidonian Hand greatly enjoys working with and training the solo and chamber musicians of the future. Collectively, members

of the Hand have decades of experience in the solo, chamber, and orchestral fields. The Guidonian Hand gives masterclasses to all

student levels, and they coach musicians in solo preparation as well as in their chamber groups, giving lectures in technique, ensemble

playing, and audition/performance preparation. They are also delighted to equip students with all of the knowledge they need to

start or continue their chamber music projects. The Guidonian Hand can give students reference lists of repertoire, show them the

best web resources for finding and ordering new music, and give advice on how to approach composers to get new pieces written.

COLLEGE COMPOSERS FORUM

One of the primary goals of the Guidonian Hand is to expand chamber music literature for brass instruments. One of the ways they

achieve this goal is to collaborate directly with composers. The Hand can design a program that demonstrates specific techniques of

the instrument to help guide the next generation of composers. They will also play pieces that have been written for the forum, and

answer student questions about the instrument, the trombone quartet as a performing group, or the landscape of contemporary

music. The Guidonian Hand would also enjoy staying in contact with both composition professors and students to see the composi-

tional process through to completion.




ARTISTSAriel

CHILDREN’S PROGRAMS

The Guidonian Hand offers a flexible lecture/demonstration program

designed to engage students’ imaginations while teaching them about

classical music and the trombone quartet. The program addresses listen-

ing skills, concert etiquette, and historical connections. Students will

also unlock the mysteries of musical composition by participating in the

creation of a unique piece of music which will be performed at the end

of the demonstration. The program can be tailored to the musical level

of the students and adjusted to address subjects and pieces they have

studied in their courses. Specific activities include:

• A fugue by J.S. Bach is used to help the students learn to listen for

and identify a recurring musical idea during the course of a piece.

• Through a series of games, students are taught what is considered to

be appropriate concert etiquette.

• After listening to music by Claude Debussy, students will be encour-

aged to talk about images it may have brought to mind. Debussy’s

ideas about the music will then be shared with the students, at which

point they will experience a second performance of the piece.

• By allowing students to choose from specific rhythms, harmonies, and

melodic ideas, they will participate in the creation of a new piece of

music that will then be performed by the Guidonian Hand.

• “How do you know where to stop the slide?” This is one of the most

common questions asked of trombonists. Through a brief demon-

stration, the students will be introduced to one of the most versatile

instruments ever invented.

• Connections are drawn between the music itself and historical events

from the time the music was written.

WIND ENSEMBLE COLLABORATION

The Guidonian Hand would be honored to perform any of the following

works with university or high school wind ensembles or bands:

Zacares, Oracles (QUARTET WITH WIND ENSEMBLE/BAND)

Hartley, Concerto for Three Trombones (TRIO WITH WIND ENSEMBLE/BAND)

Bourgeois, Concerto for Three Trombones (ARR. FOR BAND BY COMPOSER)

additional offerings (cont.)

PHOTOS BY CHARLES CLARK



ARTISTSArielpress

testimonials

“The Guidonian Hand transcends the limitations of the trombone...

Architecturally sound new music using everything of which the

trombone is capable. Brilliant writing, brilliant playing. Loose and yet

rigorously precise. Revelatory. A celebration of pure sound, and

played from the heart at a very high level. Totally new. Go hear it.”

–Sam Burtis, trombonist, bass trombonist, tubist, composer/arranger,

music director, and educator in New York City since 1967

“The Guidonian Hand exceeded our expectations. Their dedica-

tion to and love of music, their thorough knowledge of their

instrument, their commitment to excellence and their enthusiasm

to share their passion with others made them a perfect fit for the

goals of the Vivian Major Robinson Concert Series. The personality

of each member shone through during the concert, as they took

turns sharing interesting history about the instrument, musical

selections, or composers. We were delighted with The Guidonian

Hand’s performance, and feel we’ve not only heard great musi-

cians but met great new friends.”

–Johannes Tromp, Coordinator for the Vivian Major Robinson Concert

Series, July 6, 2011

“The sum of these four extraordinary musicians – Mark Broschin-

sky, William Lang, Sebastian Vera, and James Rogers – equals

PRAISE FOR THE GUIDONIAN HAND:

“Now for something I can sink my teeth into – Jeremy Howard

Beck’s Awakening for the newly-formed trombone quartet, Guido-

nian Hand. Nice to see some awesome brass ensemble action at

[the Bang on a Can Marathon]... Placed in the back of the cavern-

ous hall, the quartet brings some mighty chops to a difficult yet

extremely touching work by Beck...

The Guidonian Hand returns…this time to perform Eve Beglarian’s

In and Out of the Game. This may be my first sampling of trombone

quartet and electronics, and it’s an intriguing combination – the

trombones slowly enter with a chorale texture softly underneath

the chattering electronics, gradually overtaking the electronics in a

nice, over-arching motion by Beglarian. I’m sure a good portion

of the audience does not realize that the quartet is playing this

substantial work by memory...well-played, gentlemen!”

–Rob Deemer, Sequenza 21, June 17, 2012

“More interesting, though, was [Conrad Winslow’s] “Dilating

Music,” an atmospheric exploration of meaty lower brass

textures, complete with subtle slides and juxtapositions of

muted and open timbres, expertly played by the trombone

quartet Guidonian Hand.”

–Allan Kozinn, New York Times, September 3, 2009

something beyond what the term ‘trombone quartet’ could

muster in my imagination. Everyone can hear this musical

alchemy in their performances… As in any great performing

ensemble, each member is in his own way the center of the

group while at the same time no one is the center. Each person

brings something unique to the rehearsal besides his abilities

on the trombone. Mark, a virtuoso on the alto as well as the

tenor instrument, brings his genial humor and shrewd musical

common sense – in this way he is the center; Will, skilled in

every aspect of trombone playing and a musician of the most

intuitive kind, brings his incisive musical insights – in this way he

is the center. Sebastian, a gifted player with an especially lyric

quality, brings a quiet steadiness and seriousness of purpose –

in this way he is the center. James, whose sound as bass

trombonist is as grand as his persona, brings his passion for

music and his encyclopedic knowledge of the trombone – in

this way he is the center. But then again, there is no center.

When the four personalities have merged, when what each

player brings has been subsumed in the whole, there occurs

that something which is always greater than the sum of its

parts, the magic of great ensemble playing. That is what one

hears at a Guidonian Hand performance.”

–J. Mark Stambaugh, Composition Faculty, Manhattan School of Music

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