Review

Jonathan Leshnoff
Concerto for Trombone:

Towson, MD, United States
Publisher: Jonathan Leshnoff Publishing, 2007-2015
Date of Publication: 2007
URL: http://www.jonathanleshnoff.com

Score and solo part

Primary Genre: Solo Tenor Trombone - with piano
Secondary Genre: Solo Tenor Trombone - with orchestra

Jonathan Leshnoff is Professor of Theory and Composition at Towson State University in Maryland. He has established an international reputation as one of America's most gifted young composers. Orchestras around the world including the Baltimore, Atlanta, Kansas City, Nashville, and Buffalo Symphony Orchestras have performed his works. The Philadelphia Orchestra premiered his Flute Concerto as well as his Clarinet Concerto.  Marin Alsop and the Baltimore Symphony premiered a new orchestral work, Starburst. He has three CDs on the Naxos label, including his Violin Concerto and Symphony No.1. His catalogue includes four string quartets, two oratorios, seven concerti, trios, a string sextet, three symphonies and numerous solo and chamber works.
 
The latter part of the 20th Century has seen a tremendous rise in virtuoso solo trombone performers. This in turn has led to a proliferation of concerti and recognition that the trombone is a legitimate solo instrument. Some of the noted composers that have written trombone concertos, varying in style from avant-garde to neo-classical to neo-romantic to jazz, are Luciano Berio, Toru Takemitsu, Jennifer Higdon, Christopher Rouse, Jan Sandstrom, Iannis Xenakis, Gunther Schuller, Gordon Jacob, Arvo Part, Augusta Read Thomas, Wolfgang Rihm, Carlos Chavez, Ellen Taafe Zwillich, Alfred Schnittke, James Pugh, Melinda Wagner, Christian Lindberg and William Bolcom. Add to this distinguished list Jonathan Leshnoff and his Trombone Concerto. It was commissioned by Chris Dudley, at the time principal trombone of the Baltimore Symphony, and premiered by him in Nov 2008, accompanied by the strings of the Baltimore Chamber Orchestra.
 
The Baltimore Sun review of the concert stated in part:
 …(the concerto), for trombone and string ensemble, creates a fascinating juxtaposition of timbre and temperament as the composer explores ideas in a style that embraces tonality, but doesn't just take an easy, neo-romantic course. Something at once sophisticated and personal is always happening in the tightly constructed concerto, pulling the listener in. The work's opening is like that of some Mahler symphonies -- expectant string tremolos prepare the way for an arresting thematic statement. Here, the trombone becomes a busy narrator, telling an eventful tale that passes through many moods and colors. An almost folksy middle movement, filled with darting ideas for the soloist, is framed by two darkly lyrical movements. The finale is particularly effective, with a long passage that rises melodically, harmonically and dynamically -- an emotional crescendo that gradually subsides into a kind of twilight world, the strings shimmering in a soft, high register as the trombone gradually lets go of its poetic energy. Chris Dudley, principal trombone of the Baltimore Symphony Orchestra, was the assured, vivid soloist…
Tim Smith, Baltimore Sun, November 6, 2008
 
The New York Times reviewed a performance in New York City:
 The orchestra…continued with Jonathan Leshnoff’s handsomely wrought, lyrical Trombone Concerto. Christopher Dudley, the soloist, playing glowing melodic lines over autumnal string harmonies... An animated central section featured a leaping solo part and playful interplay among the string sections…the afternoon’s keenest discovery was Mr. Leshnoff.
Steve Smith, New York Times, November 4, 2008
 
The thematic material in the Concerto is cyclical, with the three movements following an unusual pattern of slow fast slow. The outer movements are recitative-like, dramatic, brooding and lyrical. The middle movement, at least in the orchestral part, is reminiscent of a perpetual motion with the trombone interjecting comments. The musical language is neo-romantic, and although unique, this writer hears echoes of Barber, Sibelius, Mahler and even late Bartok (Concerto for Orchestra – last movement). It is not a virtuoso showpiece; the emphasis is on musical and emotional expression. Technically it is within the capabilities of a good college level performer, however one with advanced musical intuition and excellent control.

-Karl Hinterbichler
University of New Mexico