Review

John Frith
One Nation:
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

John Frith is an active English composer known for his contributions to trombone solo and ensemble repertoire. At the time of this writing, a quick search reveals 9 trombone works available through Cherry Classics Music and another 14 through Warwick Music. One Nation is a single-movement piece with a through-composed fast-slow-fast structure. In terms of difficulty, I would rank it a bit more challenging than the Guilmant Morceau Symphonique, especially in terms of interval content.

It mostly ranges from F to b-flat² with c² at the end; a lower ossia octave is given. Dedicated to Gordon Cherry, the owner of Cherry Classics and former principal trombone of the Vancouver Symphony, the work bears the inscription, “The study of human DNA reveals our individual diversity. Once we were ALL foreigners - now ONE NATION.” Metrically, the piece sticks to familiar rhythms and meters and remains in bass clef throughout. Harmonically, it presents rich harmonies and slightly unusual intervals for the soloist.

The piece’s 4/4 opening is cast in the style of a bold fanfare featuring upward leaps in the solo part. This fast section transitions to a more legato passage with a repeated 16th figure in the pianist’s right hand accompanying a more sustained solo part that still employs upward leaps. The piano part is challenging enough to require an accomplished pianist. The solo part spends enough time above c that a student will need a fairly solid high range. The transition to the middle section presents confident descending scales and piano echoes of the opening fanfare over an extended ritardando.

The middle sections give us a more lyrical theme employing downward leaps in contrast to the opening, possibly a deliberate choice by the composer. The rhythmic motive of the solo part is worked out consistently through various harmonic guises. A student learning this piece will be well-advised to try singing this passage to solidify the intervals. Occasional quick triplet turns will require lip flexibility but lay well for alternate positions on the slide and are certainly less challenging than those found in the Barat Andante et Allegro.

The third and final section is a varied recapitulation of the confident fanfares of the opening. With more runs and unusual intervals, the solo part is more challenging here. Quick glissandi make an appearance at the end, making for trickier slide position choices; slow practice will be needed.

Although I can’t see a strong connection to the piece’s title or inscription, this is a nice, short piece that could serve as an opener to an undergraduate recital program. Given the large number of French conservatory pieces already in circulation, it is nice to see another English contribution.