Review

Giacomo Puccini
Excerpts from the Opera Turandot: for 8-part Trombone Ensemble

Arranged by Randall G. Malmstrom

7 tenor trombones (5 in tenor clef) 1 bass (alternate contrabass) trombone

Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2023
URL: http://www.cherryclassics.com

Score and parts

Primary Genre: Trombone Ensembles - 8 trombones

Randall Malmstrom adds to his extensive catalog of fine arrangements for trombone ensemble with this moving setting of excerpted moments from the opera Turandot. Giacomo Puccini (1858-1924) left his final masterwork unfinished at the time of his death and it is widely considered the last Italian opera to enter the modern repertoire. The opera was posthumously premiered in Milan at La Scala in 1926 after being completed by Franco Alfano. The work has gone on to become one of the most produced operas of the 20th and 21st centuries. Malmstrom’s six-minute arrangement begins with the same thematic material that opens the opera and then quickly surveys many of the most dramatic musical moments from the two-and-a-half-hour opera.

The monumental aria Nessun Dorma forms the centerpiece of this arrangement and also concludes the series of extracts in its powerful conclusion. The setting of Nessun Dorma effectively functions as a feature for trombone 1 within the octet. The work could function well with an antiphonal setup with parts 1-4 forming choir one and parts 5-8 forming choir two. The arrangement presents some notable challenges to the ensemble, especially in the trombone 1 part as it contains some extensive range demands in addition to the exposed moments of soloist playing. Trombone 1 ascends to an e-flat2 and is consistently written in ledger lines above the tenor clef staff. Trombone 2 is also high with arpeggios that ascend at times to c-sharpt2. Trombone 5, which is the lead voice in the second choir also contains significant range demands, with an e-flatt2, yet this voice is not exposed in as much of a soloistic manner as trombone 1. Trombones 1, 2, and 5, are set entirely in tenor clef while trombones 3 and 6 also make use of some tenor clef, but are not significantly demanding in terms of upper range. Trombones 4, 7, and 8 are set exclusively in bass clef, though trombone 7 is clearly a tenor trombone part. Trombones 4 and 8 are clearly bass trombone parts, though part 8 is scored the lowest and in fact may optionally be played on contrabass trombone if one is available. In this inspiring arrangement it may be advisable to double parts 1 and 5 at least, and also perhaps part 8 with one bass and one contra, if possible. I personally look forward to programming this arrangement with my own student ensemble and when I have the opportunity to do so I will likely assign doubled voices throughout and perform the work with 16 players, though in a few exposed lyrical moments it would work nicely to thin the texture and for contrast go briefly to one on a part.

I highly recommend this work for your library and inclusion in your next trombone ensemble performance.