Review

Krister Hansén
Triple Falling: : Concerto for Trombone Solo and String Orchestra
Trombone and strings.

Stockholm, , Sweden
Publisher: Swedish Music Information Centre
Date of Publication: 2008

Score and parts.

Primary Genre: Solo Tenor Trombone - with orchestra

Krister Hansén (b.1966) holds degrees in composition and music theory from the Malmö and Piteå Colleges of Music (Sweden). He studied further with Gerard Grisey, Klaus Huber, Harrison Birtwhistle, Bent Sörensen, and Olav Anton Thommesen. Hansén currently teaches at the Music Conservatory in Tromsø, Norway. Triple Falling was commissioned by the Arctic Trombone and Low Brass Festival and premiered by trombonist Jörgen van Rijen in Tromsø, Norway October 10, 2008. 

The composer writes the following about this work: 

Life can be a series of trips and falls. We may feel like the detective Clouseau when we trip, tumble and fall all around in our existence, surrounded by mental sidewalks high as blocks. We may encounter love that turns into dust, friends that fail to meet our expectations and ambitions that are in vain. But the worst thing that may strike us is probably to be cast aside. My little trombone concerto was inspired by the thought of these ”fallings” and every movement has a theme of its own: In love, to fall for the evil Mr. Polonium, and to fall into oblivion - in the sense of being forgotten or even worse being excluded. I won’t state that the music expresses these feelings. It is more a question of gaining energy from the thought of life being a huge rollercoaster, with lots of ups and downs. In this concerto it always ends with a down. The three movements are titled; -In Love, -for Mr Polonium, -Into Oblivion.  

Aside from the program, this concerto is unique in that it is not your typical trombone solo with orchestral accompaniment. The trombone is an equal partner with the string section; the latter does not merely accompany the soloist. You need an excellent string orchestra, a virtuoso soloist and more than the usual number of concerto rehearsals to do justice to this work. The many string divisi parts require good players in all the chairs, not just the principals. The trombone part is difficult, but not impossible, covering a wide tonal, dynamic and expressive range. Although unique, the composer’s interesting musical language has elements of Bartok, Berg, late Stravinsky, Messiaen and Penderecki. This is serious, intense, expressive and expertly crafted music. 

-Karl Hinterbichler
University of New Mexico