Review

Jean Daetwyler
2nd Concerto:

Zumikon, , Switzerland
Publisher: Editions Marc Reift
Date of Publication: 1991

Piano score and solo part

Primary Genre: Solo Tenor Trombone - with piano
Secondary Genre: Solo Tenor Trombone - with orchestra

The late Swiss composer Jean Daetwyler (1907-1994) may be best known for his unusual concerto for alpenhorn, but he has several works for trombone to his credit. These include his first concerto for trombone, which was recorded by his compatriot, Swiss trombonist Dany Bonvin on the album Trombone Festival (Gallo, 1995) with the Brass Band 13 Etoiles. The second concerto is similar to the first (over 17’ long) in its grand scope. Written for Branimir Slokar, the piece explores the aggressive side of the trombone in its outer movements, both employ compound meters with the marking “Barbaro”, and more mysterious, expressive, and atmospheric aspects in the middle movement. The entire movement is muted, with many glissandi and much use of the markings léger trémolo and espressivo.

The first movement begins with a Largo recitative in 4/4 meter, followed by the main Allegro barbaro theme in 6/8. A brief Andante recalls the style of the introduction before a fiery return to the Allegro barbaro to close the movement. The second movement begins with a 4/4 Misterioso theme in tenuto eighth notes marked espressivo, and progresses to Allegretto which alternates between languid glissandi and repeated lilting figures. Grazioso ensues, developing the themes and figures presented earlier in the movement. The movement ends with a rising recitative and echoes of the Allegretto and Misterioso themes. The final movement is a spirited, fiery tour de force in 6/8 and 3/8 meters which explores the performer’s virtuosity in its use of a wide dynamic range and driving, syncopated sixteenth-note rhythms with expressive use of accents and a variety of articulation. A boisterous cadenza interrupts the driving pace before leading to a frenzied conclusion.

The work covers the range from low F to high c2, and provides rhythmic challenges such as triple/duple alternation, hemiola, and various sixteenth note figures within brisk compound meters. The extended tonal language using key signatures in some places, solely accidentals in others, provides richness but also accessibility. The piano reduction is quite challenging, especially in the middle movement, but manageable and provides indications of the orchestration in places showing an extended violin solo and several key percussion rhythms. This work is an excellent choice for a senior or graduate recitalist looking for a challenging concerto outside the canonic repertoire, as well as a student or professional seeking a newer concerto to perform with orchestra or piano.

-Nat Dickey
Concordia College-Moorhead