SKU: CY.CC3136

ISBN 9790530111055. 8.5 x 11 in inches.

This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University. While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad). The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital. I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting. I thought at the time that he had given me and my music a fine compliment. I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor. It alternates between assertive and more thoughtful moods. There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end. Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes. Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic. The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes. The main theme is heard in the piano part before the soloist enters. The mood is more lyric than in the first movement, but with dramatic episodes also. In this movement are some definite derivations from themes in the first movement. The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes. Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward. The introduction is a brief and simple preparation for the solo entry. Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo. Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers.

SKU: FT.FM423

ISBN 9790570483228.

I've always been fascinated by the depth of expression in the song cycles of Robert Schumann, and have tried, in these two pieces, to emulate that using the trombone. Why the trombone? Well, it has a rich history of being 'paired' with the voice in choral music but, if I'm really honest, as a trumpet player I've always been a little bit envious of the trombone's lyrical elegance. The music, in both of these works, has a lot of 'dialogue' between the trombone and piano, I really did think of them as communicating - only without using words.

SKU: CY.CC2300

There are three movements in Fantasy Pieces that make up Robert Schumann's Opus 73. Completed in 1849, he linked each piece harmonically. He directs the performers to follow on to the next section, indicating that these movements were intended as a whole.

SKU: CY.CC2565

Haydn composed over 100 compositions, each in three movements, for his wealthy employer Nicolas Esterhazy, who played the six-string instrument called a Baryton, which in shape looked much like our modern day cello, but, of course, with six rather the cello four strings. His original scores were composed of three lines: the solo part, an inner filler part for viola and a bass part. I have realized the piano part. These transcriptions were created to give the solo trombonist an experience with classical music.

The music is in an elegant style and a joy to perform as arranged by Mr. Trevarthen.

The six works included in the collection are as follows:
No. 2 in G (Theme and Variations)
No. 26 in F
No. 49 in F
No. 55 in F
No. 77 in F
No. 95 in B-flat

The works are between 6 and 9 minutes in length each and suitable for moderately advanced performers.

SKU: HL.48182764

UPC: 888680870881. 11.0x14.0x0.07 inches.

Rene Berthelot: Le Roi Renaud, Variations (Trombone & Piano).

SKU: CY.CC2578

The Cello Sonata No. 2 was published in 1887, more than 20 years after his first. The Sonata is dedicated to Robert Hausmann who had premiered the 1st Sonata and was a collaborator with Joseph Joachim in the premier of the Double Concerto.

The work is in four movements:

Allegro vivace
Adagio
Allegro passionata
Allegro molto (rondo)

Sonata No. 2 is a major work of over 30 minutes in length, having been exquisitely arranged by Ralph Sauer for advanced performers,

Cherry Classics is the distributor for Balquhidder Music.

SKU: SU.50022160

Published by: Seesaw Music.

SKU: HL.48183063

UPC: 888680877347. 9.0x12.0x0.096 inches.

“Domroese: Les Ours, Suite métaphorique (Trombone & Piano)”.

SKU: HL.48185212

UPC: 888680850968. 9.0x12.0x0.188 inches.

John Boda: Sonatina (Trombone & Piano).