Review

Kim Portnoy
Three Prayers:
four trombones, two euphoniums, two tubas, and drum set

, United States
Publisher: We Fell Up Music
Date of Publication: 2010

Primary Genre: Brass Ensemble - 6+ brass (choir)
Secondary Genre: Trombone Ensembles - 8 trombones

Kim Portnoy is the Director of Composition at Webster University, St. Louis. He has quite a few chamber and orchestral works published in both classical and jazz styles; in addition, as a pianist he has a number of recordings with his jazz trio and big band. Three Prayers was commissioned by the St. Louis Low Brass Collective, which includes members of the St. Louis Symphony.  It is also recorded on the compact disc Connections by bass trombonist Gerry Pegano.
 
The work is in three movements: Chant, Lament and Invocation, and Niggun. All three are strongly influenced by jazz but require no improvisation, except for some ad-lib passages by the percussionist. The first movement alternates lyric chant melodies in the euphoniums and tubas with driving, syncopated figures in the trombones, rhythmically punctuated by the drum set. The second movement features a slow background dirge in the trombones against a snarly muted bass trombone solo in the Lament, then against a mournful solo euphonium in the in the Invocation.  As counterpoint to these long lines in the brass Portnoy writes an active, offbeat accompaniment in the drum set: nicely written with snares off and soft mallets, reminiscent of the percussion writing in Stravinsky's Soldier's Tale. The last movement, a Jewish religious song, is a fast Rondo contrasting driving sections with "Heavy Funk" and "Alla Samba" middle movements.  There is nice rhythmic interplay in the trombone parts and long 16th-note passages in both euphoniums. Throughout we see Portnoy writing for two contrasting choirs of trombones and euphoniums/tubas, using the drum set to punctuate rhythms.
 
The work is fairly difficult and is appropriate for college and professional players. Given the piece's complexity I would assume a conductor is required. Ranges are moderate with the first trombone written up to b-flat1, the first euphonium up to a-flat1 and the bass trombone down to a pedal A-flat. The euphonium and tuba parts are quite technical and the drum set part needs a player with a good sense of jazz style. The quality of the score and parts is mostly good, however there are quite a few instances of clashing slurs/accents/rehearsal letters, but not enough to halt rehearsals.
 
This is quite a good work and certainly fills the need for serious compositions for low brass ensembles. I am impressed that the composer takes advantage of the tonal differences between trombones and euphoniums. Three Prayers is an excellent closer for a low brass recital.

-David Mathie
Boise State University