Review

John Frith
Behind the Mask:

Coventry, , United Kingdom
Publisher: Warwick Music Publishers
Date of Publication: 2006
URL: http://www.warwickmusic.com

Piano score and solo part

Primary Genre: Solo Bass/Contrabass Trombone - with piano

Not since the pioneering efforts of Tom Everett has a bass trombonist done so much to expand the repertoire as has British bass trombonist Jonathan Warburton. At the age of 32 he has already commissioned and premiered more than eighteen works by composers such as Eric Ewazen, Daniel Schnyder, James Kazik, Tom Dossett, David Uber and Ian McDougall. Behind the Mask is one of these pieces. The composer, John Frith, b.1947, hails from Hampshire in the United Kingdom. His professional training began at Dartington College of Arts and continued at the Guildhall School of Music, where studying horn and composition, he won both the Brass and School Composition Prizes.  Combining a career as a professional horn player, teacher and composer, he has written extensively for wind, brass, strings and voices. His published compositions are numerous and the BBC has broadcast a number of his large-scale works. The composer has supplied the following information about Behind the Mask:

     This is a personal tribute to Jonathon, who (although a little "off the wall") has proven to be a reliable friend as well as an excellent bass trombonist. His "in your face" personality masks a more sensitive persona and it was this that I have endeavored to express. I like to think that my music is accessible and hopefully memorable. The opening phrases on the trombone are later developed in the lyrical first subject with a central cadenza leading to the reappearance of the first subject theme. There is a final twist in the tail as the soloist shows a "bit of attitude" in the coda - as it were stamping his foot in the final bars revealing another side to his character.

This beautiful, neo-romantic work features the sometimes neglected, lyrical qualities of the bass trombone. It is a welcome addition to the repertoire that makes no unreasonable technical demands on either performer. The bass trombonist needs a cup mute, a pedal EE-flat, a singing quality of sound, good legato and excellent musical intuition. While quite conventional, the music is neither dull nor hackneyed; it takes mature performers to bring it to life.

-Karl Hinterbichler
University of New Mexico