Nikolay Rimsky–Korsakov – Concerto for Trombone and Orchestra
B Flat Major
Korsakov is a Russian composer and he received a less music education in his childhood. His family wanted that him to be a soldier but in 1861, he met with Balakirev and he realized his talent with Balakirev’s help. In 1871, he became a professor at St. Petersburg Conservatorium. Reportedly, he came his lessons with his soldier uniform. We can heard that concerto’s style is kind of band. Moreover, this concerto’s premier played with band.
Concerto starts with Allegro vivace and when trombone starts to play, it climbs over two octaves and triples must be played in tempo. Orchestra’s beginning is too short and after trombone’s entrance, it separates in two parts. At the continuation of interlude solo trombone theme continues. After variations, performer start to play again first theme and it climax with b flat note which is in the high octave.
Second movement is Andante cantabile and it is curve. With espressivo parts, performer can show this movement’s cantabile side with long ligatures and crescendo makes these passages more brilliant so, it prepares cadence with this crescendo and high octave notes. Orchestra’s accompaniment is really important for this movement’s duration. Also, intonation is really important for trombone because it is hard to play with good intonation in high octave in slow moment.
Last movement is Allegro and in that movement trombone and orchestra is in conversation. This movement is really showed that this concerto was composed for trombone and band. Firstly orchestra plays and then trombone play the same theme. There are lots of triple croches and in fast tempo, it is hard to play because tongue must be very fast and soft. In the middle of movement, there is a little coda and it continues until the cadence and composer ends the concerto with bugle voice with full orchestra.
Korsakov composed this concerto for tenor trombone but in concerto there are few high notes so that bass trombone players can also perform it. Only in second movement, performers can be inflictable.
The begining of the concerto: