Review

Sergei Prokofiev
Romeo and Juliet, Suite No.1 Op.64: for tenor trombone and piano

Arranged by Charles Vernon and edited by Erik Saras


Vancouver, BC, Canada
Publisher: Cherry Classics Music
Date of Publication: 2011
URL: http://www.cherryclassics.com

Primary Genre: Solo Tenor Trombone - with piano

Orchestral trombonists often hear wonderful melodies all around them without being able to participate directly. These arrangements by Vernon and Saras give both tenor and bass trombonists a chance to play great music, if they are up to the challenge. Prokofiev composed Romeo and Juliet as a ballet but ultimately created three orchestral suites and ten piano pieces from the original music. It is common to see orchestras create ad hoc suites, selecting movements as needed from the originals. This arrangement follows a similar strategy while making a few significant cuts to adapt the work for trombone performance.  For example, the Montagues and Capulets movement starts directly on the main theme, omitting the slow, sustained introduction. This ten-movement arrangement includes the well-loved Montagues and the Capulets, Young Girl Juliet, Death of Tybalt and Juliet’s Death and Funeral. Given the difficulty and length of the arrangement, it will probably occupy an entire half of a recital program although it may also be possible to extract two or three movements for a shorter performance. Keys are often changed from the original and also vary between the bass and tenor trombone versions. The tenor version, using both bass and tenor clef, requires a strong high range up to f2 but also makes frequent demands on the trigger and pedal range, including some fairly acrobatic passages. Be forewarned that the movement, Juliet’s Death, includes sustained BB-naturals. The virtuosic passages in such movements as The Death of Tybalt and The Young Girl Juliet require a strong performer. The demands on the bass trombone soloist are perhaps even greater. Anyone familiar with Mr. Vernon’s playing prowess shouldn’t be surprised by this. In particular, some of the turn figures of the movement, Masks, require great valve technique and a wide range: from CC up to c2. Generally, the tessitura is lower but tenor clef makes frequent appearances. As is often the case with orchestral reductions, the piano part is quite challenging at times. A pianist with smaller hands will have to re-voice thicker sections of the score. The piano part for the bass trombone arrangement sometimes relies on many ledger lines below the staff; octava indications would have been better. The solo parts are clean and include both measure and rehearsal numbers. Tenor and bass trombonists looking for a real challenge in performing great Russian music will have their hands full preparing these arrangements but will likely find the effort quite worthwhile. It is available directly from the publisher at www.cherryclassics.com.

-Brad Edwards
University of South Carolina