Nikolai Rimsky-Korsakov

Concerto for Trombone and Military Band (1877)

The Composer: Nikolai Andreyevich Rimsky-Korsakov

(1844-1908), well-known for his significant contribution to the orchestral and

wind-band repertoires.
One of few historically prominent composers who wrote for the trombone as the
solo instrument, though, like many of his contemporaries, they saw its
deployment as most fitting along the big sounds of the military band.
Started his musical training at age 13, studying with Miley Balakirev. The two
would both later be very important figures in Russian music and nationalism,
becoming members of the established Mighty Five.
His compositions made musicians come to appreciate his orchestrational skill as
well as his mastery of harmony and counterpoint. Even Mussorgsky was afraid
that he suspected me of being the conservative professor, who might convict him
of parallel fifths, and this was unbearable to him.
Rimsky-Korsakov also confesses to having no conducting experience, which he
gained during his professorship. He alludes to his initial professorial years, Thus
having been undeservedly accepted at the Conservatory as a professor, I soon
became one of its best and possibly its very best pupil, judging by the quantity
and value of the information it gave me!
Between 1873 and 1884 he served as Inspector of Russian Naval Bands. The
Concerto for Trombone and Military Band was completed in this period, in 1877.
o 1 of only 3 works composed by Rimsky-Korsakov featuring wind band
accompaniment.
o These compositions of mine were written primarily to provide the
concerts with solo pieces of less hackneyed nature than usual; secondly,
that I myself might master virtuoso style, so unfamiliar tomme, with its
solo and tutti, its cadences, etc.

The Music: Concerto for Trombone and Military Band

3 movements (Allegro, Andante, Alegretto), roughly 12 minutes long.

Very reliant on the virtuosity of the soloist; as mentioned in the reviews of this
piece in its first performances, the Concertos simplicity is pleasant but prevents it
from being distinguished as a stand-alone great piece in the trombone repertoire.

Ensemble

Ensemble very subservient to the trombone; not much interplay, but rather brief
additions or confirmations of motives and cadences by the accompaniment.

Primary purpose is to navigate through and confirm the various tonal sections that
establish the form of the movements most clearly.

Soloist

1st movement cadenzas: based on the motivic material of the first movement. Very
sectional approach to cadenza still has feeling of phrasing, simply out of time.
3rd movement cadenzas: Still quite simple, based on one overtone series or the
permutations of one scale (both Bb), and some isolated ventures in to the pedal
range, but only to Ab.
o In neither movement do the cadenzas provide any virtuosic material for
the soloist as written, which is why the piece is often supplemented with
cadenzas written by the performer.
Sits in a very comfortable range for the trombone; can almost be played without a
trigger on the instrument as its range is F2-Bb4, with the exception of written Eb2
in one of the final cadenzas (reh. 32).
o Brief excursions in to the upper pedal range.
Only brief challenges in technique in the third movement, with rapid single
tonguing necessary, as well as triple tonguing later in the movement.

First Performance

Completed under the direction of the composer in Kronstadt on March 16, 1878,
with the soloist being the Concertos dedicatee, Warrant Officer Leonov.
In response to this premiere performance, Rimsky-Korsakov wrote,
The soloists gained applause, but the pieces themselves went unnoticed,
like everything performed at Kronstadt. No interest is taken in the names
of composers, nor indeed in the compositions themselves; and in fact it
never occurs to a good many to speculate on whether a composition has
such a thing as a composer!...The finale of the trombone concerto was not
bad, taken all in all, and was effectively orchestrated.

After one additional performance under his direction in 1881, the Concerto all but
disappeared, with no documented performances for the next 66 years.

First Modern Recording and Modern Premiere

Rimsky-Korsakovs Copyists Manuscript: currently housed at the library of the

Moscow State Academic Philharmonic; only extant manuscript, as the original did
not survive.
First published in Russia in 1950, in the 25th volume of a Complete Collected
Works Edition by Yevgeny Makarov.
o Though several obvious errors such as missing accidentals can be found in
the copyists manuscript, these editorial changes are quite small and show

that Makarovs edition is not significantly different from the copyists

copy.
First published in US by Leeds Music Corporation in 1952, edited by Davis
Shuman.
o Leeds was responsible for developing the careers of artists such as the
Beatles and Frank Sinatra. in 1944, Leeds acquired the catalogue of AmRus Music Corporation, the first American publisher of Soviet music.
Eugene Weintraub was the director of the Am-Rus Corp, becoming the
head of Soviet music at Leeds.
o MCA would later buy Leeds, and in 1996 MCA Music became Universal
Music Publishing Group.
o In most modern editions, the Concerto is accompanied by a piano
reduction made by Nikolay Sergeyevich Fedoseyev, a trombone student of
Balzhevich in Russia. Although this is the most common accompaniment
in modern performance, it is quite difficult for the pianist.
The reduction also alters musical gestures within the
accompaniment written by Rimsky-Korsakov.
Davis Shuman (1912-1966), trombonist, new music advocate, and creator of the
angular trombone.
o Shuman made the first recording as well in 1952 on Circle Records, with
similar accreditation on an apparent re-release in 1960 by Classic Editions.
3 different assertions in the 2 sets of liner notes regarding the performing
ensembles. (NY Phil, NBC Symphony, Symphony Artists Band), though
it seems clear that the recordings are identical.
o Recording came before premiere performance, which occurred with
Shuman and the Goldman Band as part of the Guggenheim Memorial
Concerts on June 18, 1952.
o In a New York Times review, Rimsky-Korsakovs Concerto was described
as, a disarming composition, simple in structure and musically ingenious,
but not of a sort to affect the stature of the composer one way or the
other.
o Concert described as an agreeable evening of outdoor music.

Editions and Their Problems

Because many current editions were based on Shumans 1952 reconstruction

efforts, which were sincere though not entirely accurate, as well as Fedoseyevs
original piano reduction, which entirely omits certain gestures and other musical
information, there are concerns in need of attention in most every modern edition.
o Only Boosey & Hawkes did not use Fedoseyevs piano reduction,
choosing instead to create their own, and in doing so creating their own
concerns.

o Most errors are editorial and fairly evident. (Missing accents or slurs in
part). Also, most editorial additions by the publishers are marked in their
respective editions.
o In either case, the original full band score should be consulted to ensure
integrity of performance.
Challenges, Corrections In the Reduction of Fedoseyev

Driving triplets throughout.

o Difficult enough: then last 9 mm. of mvmt. add the obstacle of switching
inversions on every beat.
Features the addition to the manuscript of lines in octaves that are not only
difficult to read and play, but encumber the music more than necessary.

A new edition is in the works by Timothy Hutchens that features corrections to the part
and piano reduction to more accurately reflect the original work.
Recordings
Christian Lindberg: notable liberties taken in the approach to the cadenza. Features band
accompaniment (Kosei Wind Orchestra). Takes pretty much everything one step
farther.
Carl Lenthe: piano accompaniment possibly justifies generally more subtle approach
to the music. Really exaggerates the subservient feeling of the accompaniment; illustrates
the brilliance of Rimsky-Korsakov in creating interest in how he orchestrated the original
military band setting.
Sources:
Nikolay Andreyevich Rimsky-Korsakov, My Musical Life, ed. Carl van Vechten, trans.
Judah A. Joffe, London: Faber and Faber Limited, 1989.

William Goldstein
Colloquy for Solo Trombone and Symphonic Band (1967)
Colloquy is an emotionally connective piece of Americana, contemporary and
romantic, influenced by the idols of my youth: Aaron Copland and Leonard Bernstein.

In 1967, The United States Army Band, Pershings Own, in Washington, D.C.,
commissioned then composer-in-residence William Goldstein to write Colloquy.
Colloquy was premiered at the Watergate Hotel in Washington, D.C. before a
crowd of over 12,000 people, and later performed at Carnegie Hall in New York.
Colloquy was written for and dedicated to music director Colonel Samuel Laboda,
and trombone soloist, Sgt. Major David Maser of The United States Army Band,
Pershings Own.
In addition to the original band accompaniment version of Colloquy, there are
also arrangements for piano reduction as well as orchestral arrangement. The
orchestral arrangement was created in 1992 at the request of Ron Barron, who
was at that time the Principal Trombone of the Boston Symphony Orchestra.

William Goldstein

Best known as composer for film and television.

o Fame, Miracle Worker
o In 1975, he was brought under contract by Motown Record Corporation as
a recording artist, composer and producer.
o Founder of the Museum for Contemporary Art in Los Angeles, and former
director of the California State Summer School for the Arts.
Established himself as a leader and innovator in technological advances for music.
o He created the first ever completely computer sequenced direct-to-digital
score for the television show Oceanquest on NBC in 1985.
o He composed his first full orchestration for a videogeame on Sierra onlines Kings Quest IV, which sold over 1,000,000 copies.

The Music: Colloquy

One Movement, traditional ternary (Fast-slow-fast) ABA structure, with

introduction played by the entire band. Roughly 12 minutes long, as R.K.
o A Section begins with main theme statement by the trombone, with a
response from the ensemble.
This carries on and inspired the name of the piece. Goldstein
described Colloquy as a dialogue between the soloist and the band.

o A brief cadenza closes the A section, followed by a very lyrical B section

reminiscent of Copland.
o The last A section is a recapitulation, but the melodic content is now
played with a distinct jazz influence, complete with written-out
improvisational solos. The work concludes with a short coda.
Ron Barron (BSO trombonist): neo-classical, neo-romantic, jazz.
Colloquy jazz section, mm. 241-247. Walking bass LH, comp-style RH

Goldstein later commented that the piece was a reflection of the national angst of
a difficult period in US history:

There are forces of opposing polarities in the music. With the

knowledge that music is a powerful force for inspiration, I was
filled with a desire to inspire and to be a positive energy in the
world. I hope that the aspirations and hopes of this 25-year-old
composer sound as clearly today as on that first performance
almost forty years ago.

Ensemble:
Given much of the melodic content throughout piece, complementing and
elaborating on the solo passages of the trombone.
o The trombone takes a similar role as the B section unfolds.
Very technically challenging for brief stretches in the band.
o Opening of last A section: written out glissandi in winds.
Must be capable of playing in a convincing jazz style, as the gestures used are
very advanced.
Soloist:

Must be aware of dynamics, as this not only indicates your solo dynamic, but
occasionally indicates of your place in the band texture.
Virtuosic piece for solo performance with a band.
o Very demanding as far as endurance and stamina, so this piece is not
ideal for use in the recital setting without exceptional embouchure
strength.
Must have command and understanding of the jazz style, as this makes up the
last third of the piece.
o Very challenging in range and dynamic as the whole band is in shout
chorus volume.
Performance considerations:
o Rips vs. glisses: two notations used..

Colloquy, mm. 63-66, glissandi or rip example.

mm. 212-214, the more standard notation for a rip.

o A few errors in the part: be sure to cross-check the performance part

with the score you are using.

m.87, bts. 3 & 4: should be two quarter notes.
m.205, & of bt. 2: should be Bb then Ab, not Ab then G.
m.284, bt. 4: eighth notes are backwards; should read A then C.
Recordings
David Maser and The United States Army Band.

Very brilliant sound, very wide vibrato, (possibly slide vibrato), fat accents.
Hints at jazz influence that can be similarly felt in the syncopations to open
the piece.
Occasionally, even in the dialogue, the trombone becomes a part of the
ensemble, unlike the previous Rimsky-Korsakov Concerto.
Border line out of control approach to the low register sound heard in the
cadenza ending the opening A section.

John Mackey

Concerto for Trombone and Orchestra without Strings (2009)

The Composer

Born in Ohio,1973. Contemporary composer noted for his compositions for the
wind ensemble.
Son of two amateur musicians and grandson to a music store owner (his first
music lessons in music theory).
Received his first musical instruction at the Cleveland Institute of Art in 1991,
studying with Donald Erb.
o Composed 2 commissioned works there, and met his next teacher, John
Corigliano, whom he then studied with at Jiulliard in 1995.
Mackeys first work for wind ensemble was Sarsparilla, and its success shifted
his interest of favor of composing for the wind ensembles.
o He followed this immediately with Turbine and Strange Humors, and
continued with works like Aurora Awakes (2009), Kingfisher Catch Fire
(2007), and Wine-Dark Sea: Symphony for Band (2014).
Since 1999, he has been a self-publishing composer, allowing him more freedom
to write and promote his music on his own terms.
He had a non-traditional introduction to music, in that instead of learning through
an instrument, he was a largely self-taught composer using computer programs.
o This, along with his affinity for pop music and gestures affiliated with that
style, gives him a unique sound in the wind ensemble repertoire.
o Harmonically rich and emotional tendencies.

The Music: Concerto for Trombone and Orchestra without Strings

Mackeys Harvest: Concerto for Trombone and Orchestra-without-strings was

commissioned in 2008 through a consortium led by The West Point Military
Academy Band.
The piece was written for and dedicated to New York Philharmonics trombone
player Joseph Alessi. The piece premiered in 2010 by the West Point Military
Academy Band with Joseph Alessi performing the solo.
The work is in one movement divided into three sections, though it is intended to
be played without breaks in between. Fast-slow-fast form typical of Concerti.
The piece is roughly 18 minutes long.
It is a programmatic work, with the subject being Dionysius, represented in the
composition by the solo trombone:
o Harvest: Concerto for Trombone is based on the myths and mystery
rituals of the Greek god Dionysus. As the Olympian god of the vine,
Dionysus is famous for inspiring ecstasy and creativity. But this
agricultural, earth-walking god was also subjected each year to a cycle of
agonizing death before glorious rebirth, analogous to the harsh pruning
and long winter the vines endure before blooming again in the spring. The
concerto's movements attempt to represent this dual nature and the cycle

of suffering and return. (Mackey)

Liberal use of glissandi both in the solo trombone part and in the section
trombone parts.
o As mentioned in the composers blog, the trombone section is intended to
represent Dionysiuss worshipers.

1st Movement

Ritualistic feeling created by rhythmic drums and drones, combined wiith murky
improvisational gestures in the woodwinds.
After the development of a small motive completes the introduction, the main
theme, Stated in 7/4 meter, is plated played by the soloist in mm. 55, syncopated
and emphasizing the tonal center of F.

Harvest: Concerto for Trombone and Orchestra-without-strings, m.55-57, Trombone.

The composer shifts the texture of the ensemble to a tutti exclamation of the
opening solo trombone theme at mm. 65, and they alternate statements of varying
intensities until the next important motive of the first movement is introduced in
m.129.

Very angular, assymetric approach to the first movement, with the exception of
the lyrical second theme that foreshadows the second movement of the piece, but
is abruptly ended by a return of the opening material.
Largely soloist driven movement, with occasional tutti moments at cadences to
create a very strong emotional affect.
Ends with alarming amount of sound, especially from the soloist. Marked nasty,
mocking. Represents the death of Dionysius in the winter, and leading to the
beginning of the 2nd movement.

2nd Movement:

2/2 and dramatically slower than the first movement.

Lush, prolonged sounds in both the trombone and the accompaniment, juxtaposed
against 16th note interjections by the harp, vibraphone, and low woodwinds.

The texture of this movement remains very simple and fluid throughout.

3rd Movement:

Begins with another favorite technique of Mackey, the ostinato, brimming with
vitality, and slowly expanded into the opening trombone statement of the
movement. Reminds me of Catch Me if You Can theme.
The first thematic material Mackey introduces for the soloist is reminiscent of the
melody of the first movement, with the soloist transforming small cells of music
either by an additive or diminutive technique.
The second melodic material takes the shape of a long melodic idea mostly
composed of whole notes for the soloist, reminiscent of the 2nd movement.
The two styles are alternated in varying intensities for the remainder of the
movement, flying through many different meters.
As the composer approaches the finale of the piece, he adds a new ascending
motive to the solo line that will return several times in the finale.

Movement III, m.497-499

The beginning of this motive signals the beginning of a recapitulation of the entire
concerto, culminating with a typically huge ending, with the marking epic,
Mahlerian, in which the soloist leads a large crescendo the opens the coda.
o The final nine bars of the Mackeys Harvest are explosive, combining the
rhythmic material of the third movement with the multiple glissandi found
in the first movement. The final F major chord is attacked by the tutti
ensemble, followed by a sharp final gliss downwards from the soloist,
marking the end of the piece

Ensemble:

Improvisation-style writing in the opening: meant to be played independently.

Cymbal/timpani combination in the opening as a very unique sound.

Very active percussion section throughout.
Lead trumpet approach is needed to several sections of this piece.

Soloist:

Very liberal use of glissandi in various ranges and dynamic levels.

Strong jazz influence in the first movement, complete with flutter tonguing and
swing gestures. Slide vibrato also works very nicely in the opening movement.
Transition between end of first movement and beginning of second movement is
very challenging: fff to ppp.
Range up to C# in the 2nd movement, and for an extended amount of time.
Virtuosic in most every way.

Recordings:
Joseph Alessi, Performed many times at several different venues with several different
conductors and ensembles. Most notable is with the West Point Band.
Sources:
John Mackey, Harvest: Concerto for Trombone and Orchestra-withoutstrings (Cambridge, MA: Ostimusic.com, 2009): 3A.
John Mackey, Trombone Concerto concept, Ostimusic.com, July 20,
2009, http://ostimusic.com/blog/trombone-concerto-concept/.