Review

John Frith
A Beautiful Noise:
solo bass trombone and trombone ensemble

Coventry, , United Kingdom
Publisher: Warwick Music Publishers
Date of Publication: 2008
URL: http://www.warwickmusic.com

Score and parts

Primary Genre: Solo Bass/Contrabass Trombone - with brass
Secondary Genre: Trombone Ensembles - 8 trombones

This work is set in three contrasting movements: “A Beautiful Noise,” “Vocalise,” and “Rondo Finale,” and is scored for solo bass trombone, and five tenor and two bass trombones. Composed for soloist Jonathan Warburton, the solo part is extremely demanding. Numerous articulations, melodic skips, meter changes, and rhythms require skilled command of the instrument, and the range extends from GG to b1, with an extended g1 indicated at the end of the last movement. All of the tenor trombone ensemble parts use tenor clef, mutes, and equally technical challenging aspects. To achieve optimal balance it is probably best not to double parts.  

The first movement begins with a brisk tempo and syncopated rhythmic interplay among the ensemble parts at a soft dynamic. Throughout the movement, complex rhythmic interactions require a highly skilled ensemble and steady pulse. Contrasting articulated and legato passages are indicated between ensemble and soloist. Dense harmonies provide another level of technical challenge with intonation.

As the second movement’s title suggests, lyrical playing is the objective. In the beginning and interspersed throughout are several unaccompanied solo moments, including a cadenza following the ABA form before the coda. There are many borrowed rhythms, cross rhythms, and polyrhythms among the parts, and between parts and soloist. Ensemble parts require independence and the complex harmonies call for excellent intonation control.   

Indicated Vivo, the energetic third movement opens with an ascending scalar line alternating with a pyramid chordal response. Rhythmic and articulated figures punctuate and alternate with longer sustained sounds. Ostinato continues across meter changes requiring steady tempo to accurately reflect the composite rhythmic structures. A return to the ascending scalar motive and a G major chord provide a definitive conclusion.

Premiered at the 2009 Eastern Trombone Workshop, this exciting and challenging work demands rhythmic precision and capable performers. This can certainly be the centerpiece of any trombone ensemble performance featuring a bass trombone soloist.

-David Stern
Lewiston, Maine