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Konzert für Posaune und Orchester / Concerto harsonára és zenekarra

Maros Miklós

Konzert für Posaune und Orchester / Concerto harsonára és zenekarra

Konzert für Posaune und Orchester / Concerto for Trombone and Orchestra

to Christian Lindberg and Gävleborgs Symphony Orchestra

1983

Concerto

trb. solo - 2 fl., 2 ob., 2 cl., 2 fg. - 2 cor., 2 tr., trb. - timp., perc. (1 esec: 4 dobaci, gong, shell chimes, 2 ptti., camp., vibr., tom-tom - strings: vl. 1, vl. 2, vla., vlc., cb.

12 perc

1. Larghetto - Allegro
2. Grave
3. Allegro

Rikskonserter

6 October 1984, Gävle, Sweden; Christian Lindberg (trb.), Gävleborgs Symphony Orchestra, Per Engström (cond.)

Edition Suecia Stockhom Ⓒ 1988, SUE 359 (On rental)
Avaiable here!

Caprice Records CAP 21670, 1992 - Christian Lindberg (trb.), Gävleborg Symphony Orchestra, Christian Salomon (cond.)

"Maros’ trombone concerto was the first concerto that was written specially for Christian Lindberg. It was written with his exceptional talent in mind and requires an outstanding technique in order to be able to produce the extremely high notes – as in the solo cadenza in the last movement, for instance, where the soloist climbs upwards towards higher and higher registers. One of the salient features of the score is the technical variation. The music moves smoothly from traditional notation to sections with aleatoric writing. The work consists of three movements: Allegro–Grave–Allegro. In the introduction a long glissando works its way up through the strings. To speak in metaphors, a curtain opens: an E major chord lights up, flickers and goes out. Then the trombone begins to sneak in and out, circling round the seventh harmonic and thereby playing a quarter-tone lower than the tempered pitch of the orchestra. However, an arpeggio which flares up regularly is played “in tune“. Gradually the trombone’s rhythmic behaviour also affects the other wind instruments. A collective crescendo leads into intense arpeggios in the strings which provide a base for the first cadenza. The very slow second movement gives an impression of expectancy. The trombone plays a long-spun melody in a low register. The breathing is heavy, the music is rich in associations and mainly oriented towards sonoric effects. The finale starts with a jerk. The movement has a driving, rhythmic character. The trombone rushes forwards hot-temperedly and here again certain phrases contain notes that are flattened a quarter-tone. Compact tutti chords and rhythmically freer aleatoric passages are juxtaposed with the trombone’s stubbornly accentuated semiquavers. At times the entries are coordinated so that whole sections of the orchestra impetuously join in the trombone’s whirling lines. Finally a crescendo begins to grow in the whole orchestra – billowing round the trombone’s repetitive four-note pattern – starting as quietly as possible and ending suddenly in a fortissimo chord." Tony Lundman