Item Number: S0.703425

Jan Freidlin's lush and beautiful Romantic Concerto for Trombone and Piano (reduction) was composed in 2004 and is in the traditional three movements. The 15-minute work is appropriate for advanced performers.

Below is what the composer has written about his work:

"Written in 2004 , this composition combines three contrasting movements, however their style is not typical of a classical concerto, nor of a romantic work.

The 1st movement - Moderato has a long recitative-like introduction performed by the soloist over a background of aleatoric sounds. The tonality is indefinite with many harmonic changes.

The music gradually builds up more and more leading the listener to the 2nd movement - Vivace energico in which there is, added rhythmic complexity. In the 2nd movement the main motive from the 1st movement is reintroduced and the mood gains in intensity with various syncopated rhythmic phrases as the piano and solo Trombonist accelerate together into a major climax.

With the energy drained out of the music by the conclusion of the 2nd movement the listener is brought to the 3rd movement - Adagietto. This movement is absolutely lyrical, elegiac and unexpectedly tonal. Its main melody has an atmosphere of nostalgia leading to the emotional center of the whole work, the softest climax of the Concerto . The soloist plays it in many tonalities, then gradually this warm wave eases, leaving the listener in a cathartic condition.

The Concerto contains many virtuosic moments for the soloist that sound very expressive and heroic."

Jan Freidlin

The mp3 sample contains a segment of each movement from a live performance of the Concerto performed by the Odessa Philharmonic Chamber Orchestra, Conductor Igor Shavruk and Trombone solist Andrei Sokolov.

John Frith's new work One Nation for Trombone and Piano is written in A-B-A format, beginning with a dramatic and declamatory section which leads into a more somber, lyrical section and then returning to the A section to finish off this fine work of about 4 minutes in length, appropriate for moderately advanced performers (all in bass clef). This work would work very well for young performers looking to find a challenging contemporary work with lots of contrasts.

This work is dedicated to Gordon Cherry.

Fantasy Sonata, Op. 40 for Trombone and Piano by Benjamin Schroen is a work composed in 1900 which was forgotten and now rediscovered by musicologist and conductor, Dr. Keith Davies Jones.

Fantasy Sonata is written in the same virtuoso style as compositions of that period by Joseph Serafin Alschausky, and though quite challenging, it is fully idiomatic for the trombone. There is a passing ?reference? to the Concerto by Rimsky-Korsakov, and it is just possible that Schroen might have been familiar with that work as a trombonist himself. There are also some stylistic similarities to the Fantasia for trombone and organ Op.58 composed in the mid-19th century by Friedrich August Belcke (1795 ? 1874).

The 6.5-minute work featuring several short cadenzas, contrasting dramatic and expressive sections is in Romantic style, in bass and tenor clef and appropriate for intermediate to advanced performers.

? The Bestiary or "The Procession of Orpheus" was written by Poulenc in 1919.

? Originally for voice and piano, with poems by Guillaume Apollinaire, the six short movements (about 5 minutes in length) are about the follow animals:

Dromedary Goat Grasshopper Dolphin Crayfish Carp

? This music is very suitable for young performers at the intermediate level and is a great way to introduce them to a major 20th century composer whose only other music for brass is the famous Trio for Trumpet, Horn and Trombone.

Fantasie-Legende für Posaune und Klavier by early 20th Century Danish composer Axel Jørgensen was forgotten for quite a while but has been rediscovered, edited and recorded by noted Danish Trombonist and educator Niels-Ole Bo Johansen.

The work is in a late Romantic style with hints of expressionism, about 4 minutes in length and is appropriate for advanced intermediate level performers (range is up to a high B).

The beautifully performed sample is by Mr. Johansen and pianist Erik Kaltoft from the CD, The French Connection.

Virginia Commonwealth University Professor Antonio J. García has taken Haydn?s ?London? Symphony as a point of departure for his London Town Fantasy for trombone and orchestra (or piano accompaniment), commissioned by the Charlottesville Symphony Society for the Charlottesville & University Symphony Orchestra (Virginia). CUSO Music Director Kate Tamarkin sought a piece that would ?showcase the trombone in a jazz ballad style and somehow reference the Haydn ?London? Symphony? that would follow it on the program, knowing that the first half of the concert would also include the Brahms ?Variations on a Theme of Joseph Haydn.? She and trombone soloist Nathan Dishman suggested the title ?London Town Fantasy,? envisioning a potential intersection with elements of George Gershwin?s ?A Foggy Day (In London Town),? which seemed apt given a scheduled trip of García?s to London during the compositional process.

Listeners familiar with Haydn's ?London? Symphony No. 104" will notice references starting at the first measure. And the violin part at the outset of the Symphony?s fourth movement, Allegro Spiritoso, offered the core of what became the melody to this Fantasy. The melody of the ?bridge? section of the tune is crafted from the first seven measures of the opening theme of Haydn?s first movement (Allegro).

The use of ?A Foggy Day? had to be more subtle, as copyright law must be observed, limiting the use of its actual melody within this piece. But Gershwin?s harmony actually is the harmonic basis under the melody of the Fantasy; and his devotees will recognize that when the soloist improvises medium-swing jazz with the orchestra, the chord progression is indeed entirely that of ?A Foggy Day.? (An optional written-out solo is provided.)

Note that the string section is not asked to play swing eighth-notes at any time. Their jazz-phrased passages are couched in even-eighth, syncopated double-timed-sixteenth, and triplet-eighth cross-rhythmed lines well-rooted in the jazz tradition. Winds and brass, however, have swing-eighth passages to perform (and some even-sixteenth lines).

The superb piano reduction makes the six-minute London Town Fantasy ideal for performances on student and professional recitals, and no improvisational skills are needed by the pianist. Available MIDI demonstration recordings of the duo and orchestral settings, with MIDI soloist or ?minus one,? make rehearsals easy and even provide the aural basis for your own potential ?virtual? performance.

Fantasy for Trombone and Piano was written in 1981 as a Christmas present for Richard Raum while he and Elizabeth Raum were performing with the Regina Symphony. Ms. Raum is a highly respected Canadian composer with a catalog of outstanding compositions, many featuring brass instrument solos.

Fantasy for Trombone is dramatic, lyrical and very expressive, making it an ideal recital choice.

The work has gained immense popularity since its debut, having been performed and recorded by major artists worldwide. It is 6 1/2 minutes in length and appropriate for advanced performers.

Performers are Gordon Cherry, trombone and Joyce Cherry, piano from a live recital in 1986.

ome of the most popular and beloved compositions by Bach, Beethoven, Mozart, Brahms, Chopin and more are included in this collection of twenty classical themes: arranged for trombone solo with piano accompaniment. Great for lessons, recitals, and performances of all kinds. A range of early to late intermediate levels. Includes scores and individual parts.

Air on the G String, Ave Maria, Brahm's Lullaby, Canon in D, Dido's Lament, Eine Kleine Nachtmusik, Funeral March, Fur Elise, Hallelujah Chorus, In the Hall of the Mountain King, Jupiter, Largo, Ode to Joy, Pavane, Pomp and Circumstance, Sleeping Beauty, Spring, Blue Danube, The Sorcerer's Apprentice, Trumpet Voluntary.

Arrangements for trombone and piano of the following songs:

Amazing Grace
Down To The River To Pray
Go Down Moses
Nearer My God To Thee
Nobody Knows The Trouble I've Seen

Two scores are provided for each piece - one version is in bass clef, concert pitch, and the other one is in treble clef for Bb trombone.

Not much is known about the origins of the Concertino, except that the three-movement work was most likely first written and performed by E-flat Cornet in the mid-19th Century by Sachse himself. Since that time, the work has been edited for Trombone and Bass Trombone.

Along with the David Concertino, the two works are great examples of German Romantic solo writing for the brass family.

Charles Vernon has arranged an excellent sounding edition for Alto Trombone and Piano of about 12 minutes in length for advanced performers.