Concertone
for trombone and concert band or piano
TB111a Piano reduction (solo part included) - CHF28.00 (Print)
Corrado Maria Saglietti (*1957)
In writing this piece, I wanted to make room for — and highlight — the trombone’s multiple qualities.
What emerges in the first movement is the instrument’s funny, almost ironic, character accentuated by the glissando parts. But the second theme, which follows, is full of melancholy and passion.
In the second movement, the still atmosphere gives birth to a deeply dramatic melody—in contrast to a second, lighter theme, aerial and imbued with hope.
The whimsical element comes back in the third movement, which initially resembles a folk song; afterwards, the second movement’s theme makes another appearance followed by a grand and joyous final theme.
In order to express all these nuances, the “Concertone” requires a technically and interpretatively strong performance from the soloist part, while the Band’s counterpoint should assist and enhance the piece’s rich colors and its variety of dynamics.
Corrado Maria Saglietti
In writing this piece, I wanted to make room for — and highlight — the trombone’s multiple qualities.
What emerges in the first movement is the instrument’s funny, almost ironic, character accentuated by the glissando parts. But the second theme, which follows, is full of melancholy and passion.
In the second movement, the still atmosphere gives birth to a deeply dramatic melody—in contrast to a second, lighter theme, aerial and imbued with hope.
The whimsical element comes back in the third movement, which initially resembles a folk song; afterwards, the second movement’s theme makes another appearance followed by a grand and joyous final theme.
In order to express all these nuances, the “Concertone” requires a technically and interpretatively strong performance from the soloist part, while the Band’s counterpoint should assist and enhance the piece’s rich colors and its variety of dynamics.
Corrado Maria Saglietti
