Review

Johann Pachelbel
Ciacona: Theme and Variations for Trombone Quartet

Arranged by Mark La Fratta

Trombone quartet: Four trombones: 1 alto, 2 tenor, 1 bass trombone

Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2021
URL: http://www.cherryclassics.com

Score and parts.

Primary Genre: Trombone Ensembles - 4 trombones

This work is substantial presenting all players in the quartet with challenges. It is scored for alto, two tenors and bass trombone. The alto part, given the elevated range of the arrangement, is what I would describe as essential. It will take a gifted tenor player with an outstanding high range to handle such a part. Originally conceived for keyboard, probably organ, the Ciacona was set in the key of F minor. Mr. La Fratta has transposed it down a perfect fourth to C minor, suitable for trombones.

Each of the 22 variation movements are only eight measures long. In the original, some of the individual variations consist of only four bars with direct repeats. The parts seem coordinated in pairs: first and second against third and fourth. This is not a hard and fast rule but the pairing helps keep the sound consistent. Here is a bit about each of the variations: The theme is based on the descending stepwise four bars in the bass which is repeated literally. Variation 1 passes melodic responsibility from part one to two and back, and the bass passage is covered alternately by part three and four. Var.2 continues similarly at the interval of the fourth. Var.3 features the fourth part in a slightly decorated bass line. Var.4 passes a rising scale passage from part to part. Var.5 increases the velocity with more sixteenth notes, while parts three and four alternate the four bars of the bass line with an eighth-note version of the same. Var.6 now has continuous sixteenths in the first two parts. Var.7 again features the lower two parts primarily in sixteenth notes. Var.8 increases the rhythmic intensity with eighths in part four and after beat sixteenths in part three while parts one and two play four bars of the top line as brief solos. Var.9 shares a rhythmic tag from part to part and has a tempo change not in the original, più mosso e marcato. This might be a good place for a mention of rhythmic values: this arrangement, consistent with the original, requires close consideration of the difference between sixteenth notes and thirty-second notes, as they occur frequently. Var.10 puts all the fast movement in the upper two parts. Var.11 has parts one and two alternating measure by measure with three and four – in the original, the hands of the keyboardist do the alternating.

Var.12 returns to Tempo primo and takes an approach of one part echoing another. Var.13 moves essentially in eighth notes. Var.14 builds intensity with part three, in eighths, playing against part two in dotted eighths and sixteenths. Var.15 speeds up, to quarter = 72, and two parts at a time chase each other around in eighths and sixteenths. Var.16 moves along in sixteenths and crescendos up to the next variation. Var.17 is all quarter and half notes, forte, and includes a modulation to the relative major of E-flat. Var.18 is even louder, ff, and features the bottom part moving back to C minor. Var.19 features much sixteenth note movement and works to calm things down a bit. Var.20 is mp and returns to the sixteenth note oscillation between two parts – one with four and two with three. Var.21 continues in this rhythmic pattern, adding arpeggios and crescendos. Var.22 is a return to the theme and ends in a long ritardando, piano. This is quite a good job of transcription and will be exciting to hear in a good performance. Fine work, Mr. La Fratta!