SKU: SU.50028320

Parts available on rental. Piano version available.Copyright 1979. Published by: Seesaw Music.

SKU: SU.50021240

Parts available on rental.Copyright 1979. Published by: Seesaw Music.

SKU: CY.CC2869

Jan Freidlin's lush and beautiful Romantic Concerto for Trombone, Piano and Strings was composed in 2004 and is in the traditional three movements. The 15-minute work is appropriate for advanced performers.
A 4 1/2 minute sample of the Concerto (on our site) is beautifully performed by the Odessa Philharmonic Chamber Orchestra, Conductor Igor Shavruk and Trombone solist Andrei Sokolov.
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 of divisi strings. 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 the Piano makes its first appearance, adding 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 orchestra 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

SKU: CY.CC2824

Bach's Fantasia & Fugue in C minor, BWV 537 is a work for Organ written around the year 1723 while the composer was in residence in Weimar.

Bach composed many of his greatest organ works during this period.

The music of the Fantasia is lush and ornate. The Fugue is an amazing 130 bars in length.


This work was transcribed for orchestra in 1921 by Edward Elgar who mourned after the death of his wife. He was to orchestrate the Fugue and Richard Strauss agreed to do the Fantasia, however after two years Elgar completed the entire work as Strauss never held up his part of the bargain.

Mr. Sauer has subtly added phrasings, breaths and articulations to the original score to aid in the performance for Trombone choir.

The music is about eight minutes in length and is appropriate for advanced performers.

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: OT.NM00908

8.27 x 11.69 inches.

Eliezer Aharoni
The Non-Classic Bass Trombone (or Tuba)
This book covers every topic the non-classic bass trombone player needs to know, with exercises and examples in styles ranging from jazz to rock and Latin.
Contents:
Introduction by Alan Raph
The Non-Classic Bass Trombone
Prominent Bass Trombonists in Jazz and Light Music
Bass Trombone in Other Styles
Bass Trombone in Small Groups/Ensemble Music with Bass Trombone
Equipment
Doubling
Practicing - Goals and Achievements
Some General Topics
Bass Lines in Different Styles
Characteristic Phrases
Studies
Guest Composers Section
The Mute Shop for Bass Trombone and Multiple Mutes
Duets
Bibliography and Discography
Includes 2 CDs (Demo performance and playbacks) performed by Micha Davis, Bass Trombonist, Israel Philharmonic Orchestra

Eliezer Aharoni is the bass trombonist of the Jerusalem Symphony Orchestra
Softcover, 160 pages, 2008.

SKU: HL.133771

8.25x11.5x0.161 inches. Author: Serocki.