Review

Eric Richards
Concerto for Trombone Quartet and Wind Ensemble:

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Publisher:
Date of Publication: 2010
URL: http://jazzdoc59@yahoo.com

Primary Genre: Chamber Music
Secondary Genre: Trombone Ensembles - 4 trombones

Dr. Eric Richards is currently Assistant Professor of Composition and Jazz Studies at the University of Nebraska-Lincoln. He holds the DMA degree in composition from the University of Maryland, the MM in composition and BME degrees from Duquesne University. For two decades he served as composer/arranger with the United States Army Field Band in Washington, DC. His works have been performed and recorded worldwide by professional and academic ensembles in major concert venues. As a trombonist, he has performed with numerous groups and has shared the stage with jazz artists such as Bob Brookmeyer, Urbie Green and Jim Pugh. Recently premiered works include his Three Scenes for American Trombone and Brass Orchestra, commissioned for Joe Alessi and the USAF Brass. 

The Concerto for Trombone Quartet and Wind Ensemble was commissioned for the Continental Trombone Quartet (Peter Madsen, Mark Sheridan-Rabideau, Doug Farwell, and Steve Wilson) by a consortium: the University of Nebraska-Lincoln, the University of Nebraska at Omaha, the University of Texas at El Paso, the University of Wyoming and Dr. Doug Farwell of Valdosta State University. The University of Texas at El Paso Wind Symphony premiered it April 6, 2010 under the direction of Dr. Ron Hufstader.
Dr. Richards states in the preface to the score: 

As a composer who is also a trombonist, I was most enthusiastic with the prospect of working with my friends and colleagues in the Continental Trombone Quartet on this new piece. The intent was to create a tuneful, substantive work that showcases the artistry of the soloists as individual players and as an ensemble. A secondary goal was to craft an accompaniment that was engaging, yet playable by a wide array of ensembles, to include high school, university, community and professional groups.

The composer indicated that the first movement, Molto ritmico, is influenced by Bartok, Stravinsky and Pat Metheny. The Bartok and Stravinsky influences may be a vague undercurrent in some of the frequently changing meters but Metheny’s influence is often unmistakable in the foreground. He writes the following about Movement Two:
 
…the intent of the second movement (Molto expressivo) is to explore the beautiful, singing possibilities of the bass trombone. This movement emerged as an aria for bass trombone, trombone quartet and wind ensemble. Lush, shimmering chords reminiscent of Impressionist orchestral gestures as well as the writing of master jazz orchestrator Gil Evans are prevalent in the accompanying ensemble texture.  

The energetic final movement, Molto fuoco e l’anima, includes a cadenza and solos for each quartet member and pays tribute to Afro-Cuban, Puerto Rican, and Brazilian music. The composer stated that the goal was to create something sounding like Bela Bartok meets Willie Colon. One does not hear much of Bartok in this music but it is thoroughly infused with delicious Latin flavors. The writing for the soloists is idiomatic throughout and technically well within the reach of good college level players. The wind ensemble writing is expertly done, exploring interesting colors and making use of a variety of percussion instruments. The accompaniment may be beyond the talent level of an average high school band but is certainly within reach of an excellent high school group. Since the wind ensemble accompaniment does not include trombone parts, this piece would be an excellent vehicle to feature an outstanding trombone section.

-Karl Hinterbichler
University of New Mexico