Review

Dmitri Shostakovich
Preludes, Opus 34:

Arranged by James Markey

Trombone and piano

Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2019
URL: http://www.cherryclassics.com

Score and solo part

Primary Genre: Solo Tenor Trombone - with piano

Shostakovich and the trombone; what’s not to like? While the great Russian composer never composed a solo work for trombone, he certainly appreciated the instrument, what with his exceptional writing in many of his symphonies, especially Nos. 4, 7, 8, and 15, and his opera, Lady Macbeth of the Mtsensk District. Yet Shostakovich’s music is fertile ground for transcription, even if copyright regulations (his music is still under copyright worldwide) have often been ignored. For trombones, his piano Preludes, op.34, have appeared in several incarnations—in both print and recordings—and it is a happy day that a (sort of) new one by James Markey is now in the marketplace.

Written in 1932/33, the Preludes follow the path of J.S. Bach and others who wrote a series of short works for keyboard in each major and minor key, 24 in all. Quinto Maganini arranged four of the Preludes (10, 15, 16, 24) for violin and piano in 1939; his arrangement was appropriated by several others in arrangements for various other solo instruments, including Allen Ostrander’s 1954 version for trombone solo with piano and also his edition for tenor trombone duet (Edition Musicus, now owned by Ensemble Publications). Ostrander’s trombone/piano edition was recorded by Randall Hawes (with a few changes) on his 2002 compact disc, Melodrama (Albany Records, TROY549). This reviewer’s arrangement of eight of the Preludes (3, 6, 10, 11, 15, 16, 19, 24) for tenor and bass trombones (G. Schirmer, 1997) was recorded by Ronald Barron and the arranger in 1996 on In The Family (Boston Brass Series, BB1004). James Markey, bass trombonist of the Boston Symphony Orchestra since 2012, made his own contribution of an arrangement of eleven Preludes (1, 8, 19, 13, 16, 6, 18, 10, 11, 24, 3) for trombone solo and piano for his stunning 2003 recording, Offroad (James Markey Music) while he was associate principal trombonist of the New York Philharmonic. Happily, while no longer new, Markey’s arrangement has now been made available as a Cherry Classics publication.

In a departure from the previously mentioned trombone arrangements of the Preludes, James Markey reordered the movements and, in ten instances, transposed them from their original key. The arrangement was conceived as a showcase for Markey’s exceptional abilities on the tenor trombone (although one has little doubt he would sound just as impressive today on bass trombone). These include a beautifully expressive legato, blistering technique, lip (and valve) trills, and a range from f-sharp2 (yes, the f-sharp above Beethoven Symphony 5 high f) down to GG. To say nothing of an understanding of Shostakovich’s sardonic humor. Markey’s recording provides us with an unparalleled model of how to approach this music in all respects.

The arrangement is exceptionally well crafted and the extraction of a solo trombone part from the original piano solo edition never leaves the piano accompaniment lacking in completeness. Alto, tenor, and bass clefs are used in the trombone solo part, and the typesetting of the Cherry Classics PDF review copy is clear and crisp but a little generously laid out for the pianist. Most editions of Shostakovich’s original piano solo version lay out each Prelude on two pages, but the Cherry Classics edition of Prelude No.6 takes four pages and turning pages does present a challenge. Apart from a couple of hardly consequential omissions in the piano part (measure 15 of Prelude No. 11 should have slurs over the two groupings of notes in the trombone part, and the final measure of Prelude No. 18 should have a final bar line), the edition appears to be free of misprints. The PDF review copy did not come with any introductory notes from the arranger—these would be welcome—although Markey, in the notes to Offroad, credits the Vienna Trombone Quartet’s 1999 recording of twelve of the Preludes (Camerata 28CM-573)—which reordered and transposed twelve movements, arranged by Hanse Peter Gaiswinkler—as the inspiration for making his own version. It is important to note that Markey’s arrangement is legally published with permission from G. Schirmer (the company that licenses Shostakovich’s music in the United States); this is laudable. While the range demands of this arrangement are daunting for all but the most accomplished players (a few ossia passages would make this version accessible to more players although one can easily make modifications), the arrangement is a model of superb arranging and publishing. Highly recommended.