Modest Mussorgsky
Pictures at an Exhibition (The Market Place at Limoges; Catacombae; Lingua Mortua) :
Arranged by Jamie Wehr
4 altos, 4 tenors, 4 bass trombones and optional percussion (tenor drum, cymbals, and xylophone)
Orlando, FL, United States
Publisher: Wehr's Music House
Date of Publication: 2001
URL: http://www.wehrs-music-house.com
Score and parts
Primary Genre: Trombone Ensembles - 9+ trombones (choir)
Pictures at an Exhibition (The Market Place at Limoges; Catacombae; Lingua Mortua) :
Arranged by Jamie Wehr
4 altos, 4 tenors, 4 bass trombones and optional percussion (tenor drum, cymbals, and xylophone)
Orlando, FL, United States
Publisher: Wehr's Music House
Date of Publication: 2001
URL: http://www.wehrs-music-house.com
Score and parts
Primary Genre: Trombone Ensembles - 9+ trombones (choir)
Modest Mussorgsky’s tour de force has oft been re-scored for a variety of instruments and Jamie Wehr’s version for twelve trombones is a masterful rendition of three movements from this celebrated work. The listener familiar with the famous orchestral transcription by Ravel will note that the form of the movements follow the original piano version. This version, scored for four altos, four tenors, four bass trombones and optional percussion was written for the Prima Toni Trombone Choir in Orlando, Florida. The percussion part is scored for tenor drum, cymbals, and xylophone but can be performed by one player. To be sure, this transcription is written for advanced players on all parts. The tessitura and physical requirements of the top alto part are demanding. Several unprepared entrances on c2, and the fact that the top range is stretched to f-sharp2, dictate a strong player. Bass trombone parts 1 and 2 can be played on tenor with f-attachment, but predictably will work best on bass trombones. Although the score indicates four alto trombones, the individual parts are written in tenor clef and designated “jazz trombone” implying that small bore tenors could be the instrument of choice. The movements are short with the entire suite totaling no more than five minutes. To add variety and timbre changes, both straight and cup mutes are used throughout the work. This is an excellent transcription for large trombone choir, but ensembles will need to make sure they “bring their A game” to be successful on this one. -Mark Britt Furman University