Review

David F. Wilborn
Arise! for 12-part Trombone Choir:
9 tenors, 3 basses (optional contrabass)

Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2022
URL: http://www.cherryclassics.com

Primary Genre: Trombone Ensembles - 9+ trombones (choir)

Commissioned by the University of North Texas Trombone Consortium, Arise is a one-movement work for 12-part trombone ensemble with the ensemble grouped into three quartets, labeled A, B, and C. All parts are in bass clef throughout with the top voices ranging as high as c2 (although one ossia part at the end ranges up to e-flat2) and the bass trombone parts mostly not going below FF (although one ossia voice does go down to EE). Wilborn writes a helpful paragraph describing the piece. His description sticks to the musical details of the piece, providing little extra-musical description except perhaps at the end of the paragraph preceding the 54-page score, “We have arrived at the zenith; moreover we sense a moment of great triumph. It is here we perceive achievement and a sense of victory. We may now Arise out of the darkness to enjoy the passions of happiness and eternal peace.” 

The work begins slowly with a noble theme using consonant harmonies. At letter B, we hear for the first time the whole ensemble with a powerful E-flat major entrance. Although Wilborn’s description is about arising from darkness, the opening is not a darkness of despair to my ears but rather a darkness of nobility and perhaps solemnity. At letter C, the ensemble takes off at a tempo of Vivacissimo (quarter note equals 170). Driving rhythmic figures are passed among the different quartets while the noble theme, briefly restated, leads to a more energetic, syncopated melody. At times, the bass trombones have unison rhythmic parts so physical separation may lead to some challenges with rhythmic coordination. A short legato section (same tempo) leads to, “Faster with agitation” at letter I, initially centered around e minor.  Meters begin to alternate between the likes of 4/4 and 3/2 but it seems apparent that the quarter note pulse remains constant. The intense mood includes some interesting harmonic moves (I’m looking at you, letter N).

A more jubilant, playful mood takes over at letter P with a fairly challenging repeated rhythm passed from quartet B to quartet A (each of whom must play an eighth-two-sixteenth double-tongued rhythm without a break for eight bars). This may be a challenge for lung capacities. The B quartet is muted and will need to devote time to tuning these rhythmically-presented chords. Letter R (“Joyful”) gives us a big arrival moment with all quartets joining homorhythmically in a series of I-V sequences moving down in whole steps. Everything builds to a return to E-flat major at letter S (“Majestic and triumphant”). Powerful chords and rhythmic energy lead to the piece's triumphant ending. 

As long as you have enough performers, this piece does not require a virtuoso ensemble. Rhythms aren’t overwhelmingly hard and are usually doubled between parts. David Wilborn has given us a large-scale piece which, while not pushing any stylistic boundaries, will likely be satisfying for the performers and audience alike.