Review

Derek Bourgeois
Sonata for Trombone and Piano:

Coventry, , United Kingdom
Publisher: Warwick Music Publishers
Date of Publication: 1999
URL: http://www.warwickmusic.com

Primary Genre: Solo Tenor Trombone - with piano

If I were to search for a single word to describe Derek Bourgeois' Sonata, it would be 'expansive.' This can be seen in the four-movement structure, extended legato melodies and his fondness for melodic leaps of a 7th. If you are familiar with his Concerto, you will find many similarities here, especially in the legato themes. Depending on the listener, this work will come across as either refreshing, uncomplicated or perhaps a little plain.

The first movement, with key signature of two flats, 4/4 meter and quarter note equaling 120, is decidedly straightforward. The two themes, one with a dotted fanfare quality, the other with simple legato lines, are clearly tonal with some chromatic interest but never enough to be confused with French music. The lighthearted scherzo of the second movement opens with a repeating figure in 5/8 meter over flowing sixteenth notes in the piano. I suspect many trombonists will want a faster tempo than the pianist can manage. The syncopated B theme includes an occasional glissando to keep things playful. The third movement requires the most endurance for both performer and perhaps listener as well. At a tempo of eighth note=80, sustained legato lines hang in a relatively high tessitura ranging at one point up to fortissimo d-sharp2 half note. Success here depends not only on the performer's physical endurance but also the ability to sustain musical intensity. The final movement presents a jocular 6/8 theme with a few playful odd-meters thrown in. The piece ends with a forte glissando from E to b-flat over five measures which may strike the listener as either boisterous or a little silly.

Fans of Bourgeois' Concerto will find much to like in this sonata although he makes no attempt to match the concerto's wild tarantella finale. This work will fill 15 to 20 minutes of a recital program and is taxing enough to require some strategic programming. It is not overly challenging to the listener and should have good audience appeal. Given the abundance of more severe pieces that generate only polite (and relieved) applause, this may not be such a bad thing.

-Brad Edwards
University of South Carolina