Review

Wolfgang Amadeus Mozart
Selections from Requiem:

Arranged by Randall Malmstrom

6 tenor, 2 bass trombones

Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2020
URL: http://www.cherryclassics.com

Score and parts.

Primary Genre: Trombone Ensembles - 8 trombones

Randall Malmstrom’s arrangement of portions of Mozart’s Requiem include several movements that are favorites of trombonists, including Dies Irae, Tuba Mirum, Rex tremendae, Confutatis and Lacrimosa. The setting is for an “orchestra” of two four-part trombone ensembles.

The layout of the parts suggests that the first quartet is handling the choral parts from the original; the second quartet covers the orchestra accompaniment. Obviously, this distribution of parts is somewhat arbitrary, and the first measure shows the two bass trombones, parts 4 and 8, playing the bass line in alternation as might the cellos and basses in Mozart’s orchestration. In addition, when the choral parts are resting, the trombones of the first quartet are free to assist with the orchestral parts.

The Dies Irae is a high energy, syncopated movement with the forcefulness natural to the trombone brought to the fore. Tuba Mirum is famous for its incorporation of a tenor trombone solo with the vocal soloists. Since the first vocalist heard in this movement is the bass soloist, the setting in this arrangement for bass trombone makes some sense. After the first solo section, the second trombone is given the tenor vocal solo “mors stupebit.” The third solo entry is the alto part, which here is covered by trombone 5, then the first part returns with the music of the soprano soloist. The nest movement, “Rex tremendae,” is again a movement of high energy, with much movement in dotted sixteenth notes in the orchestral parts and broad dotted eighths and sixteenths in the choral parts. “Confutatis” begins with a duet in the trombones in Mozart’s score, so that arrangement is maintained here. The bass trombone parts feature a driving bass line, shared between them, giving a strong impetus to the movement. “Lacrymosa” begins with the first quartet assigned the choral parts and the second quartet the orchestra.

The arrangement concludes with “Lacrymosa,” which is a bit lacking in drama for an ending. Perhaps a shuffling of the movements might give a better shape to a performance. In any event, the arrangement is well done, quite exciting. Randall Malmstrom, a trombonist himself, has made many such arrangements and is therefore experienced in translating orchestral, and now choral music to the large trombone ensemble medium. Congratulations!