Review

Terry Mizesko
Concertpiece:

Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2009
URL: http://www.cherryclassics.com

Primary Genre: Solo Tenor Trombone - with piano

Terry Mizesko (b.1946) received his B.M. in theory/composition from East Carolina University where he studied composition with Martin Mailman and Gregory Kosteck, and trombone with Eugene Narmour. He has played bass trombone with the North Carolina Symphony since 1971 and has in the past taught trombone at Duke University, University of North Carolina-Chapel Hill and St. Augustines College. In addition to his performing duties with the North Carolina Symphony, Mizesko has also arranged and composed for the orchestra and conducted education and holiday pops concerts since 1989. Orchestras including Atlanta, Baltimore, Philadelphia, Louisville, Fort Worth, Syracuse, Buffalo, Virginia and his own North Carolina Symphony have played his original compositions and arrangements. A compact disc featuring his orchestral work, Sketches from Pinehurst, which was premiered in 2005 by the North Carolina Symphony, was released by the NCS in September of that year.

Concertpiece was written for and dedicated to Dwight Robinett, the long serving and recently retired second trombonist of the North Carolina Symphony. Mike Kris premiered the first three movements at the Eastern Trombone Workshop in March 2009 and subsequently premiered the entire work at the University of North Carolina. The composer supplied this reviewer with a recording featuring the excellent playing of Mike Kris and pianist Nancy Whelan. In terms of length this is a substantial work, with the four movements (Intrada, Romanza, Danza Rustica, Epilog) clocking in at over 26 minutes. There are few if any works for trombone and piano of that duration. However endurance should not be a problem for the trombonist as there are ample rests in the part and the range employed is not excessive. The composer is not opposed to individual movements being performed separately. The third movement, Danza Rustica, makes a marvelous stand-alone character piece, complete with a flashy ending.
The musical style is quite conservative; its harmonic, melodic, rhythmic and organizational language has been around for at least 150 years. Among others, there are echoes of the conservative romantics such as Schubert, Mendelssohn and Schumann. Of course the use of a particular language (conservative, avant-garde, etc.) has no bearing on the quality of the music. That must be judged independent of the language employed. The advantage of writing in a time honored traditional style is that it makes it easier for both the performer and audience to identify with the music. A disadvantage might be that it invites comparison with the great masters of the past. The writing for trombone is also quite conservative, especially in terms of range and technique. In fact an accomplished trombonist could sight read the technical aspects of most of this work.  It does however take a good musician with a mature sound, superior phrasing and advanced melodic skills to bring the music to life, as a good deal of the writing displays the tonal and lyrical qualities of the instrument.

Grant Llewellyn, Music Director of the North Carolina Symphony writes the following:
Terry's music has an immediacy that is captivating. It is utterly sincere and heartfelt and so connects with every listener easily. He has a natural flair for orchestration, borne no doubt of many years spent at the heart of the NCSO, but also (as a brass player) has the knack of the grand gesture and the spectacular which gives many of his compositions a celebratory appeal. As a conductor it is a pleasure to work with a composer who really knows his craft and loves it.

-Karl Hinterbichler
University of New Mexico