Concertino for Trombone, Op. 4 Cover Image

Concertino for Trombone, Op. 4: Trombone/ Euphonium, Solo with Piano, Book

$6.95 USD
$6.95 USD
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Concertino for Trombone, Op. 4 Cover Image
Concertino for Trombone, Op. 4: Trombone/ Euphonium, Solo with Piano, Book

Concertino for Trombone, Op. 4: Trombone/ Euphonium, Solo with Piano, Book

By Ferdinand David, ed./arr. by Franz Gruber

Item: 36-W701191
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Description
When Karl Traugott Queisser, trombonist in the Gewandhaus Orchestra, asked Felix Mendelssohn to compose a trombone concerto for him, the composer declined due to time restraints. The task went to the concertmaster, Ferdinand David (1810-1873). Completing it in 1837, he dedicated his Concertino in E-flat major for Trombone and Orchestra, Op. 4 to Queisser, who first performed it with the Gewandhaus under the direction of Mendelssohn. Instantly successful, the piece consists of three movements, performed without break. It has become one of the most-performed trombone concertos. Reprint of piano reduction edition by Franz Gruber.

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Additional Details
Series: Well Tempered Press - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-270246-7
ISBN13: 979-8-89-270246-1
UPC: 659359953729
SKU: 36-W701191
Instrumentation: Trombone (or Bassoon, or Violoncello) and Piano

More about this title

About the Composer: Ferdinand David

Ferdinand David (1810-1873) was a German violinist, conductor, and composer who spent much of his career at the Leipzig Gewandhaus, one of Europe's most prestigious concert institutions. Though best known today for his violin concerto and his collaboration with Mendelssohn on the premiere of the Violin Concerto in E Minor, David was a versatile musician who composed across multiple genres and wrote works that showcased the capabilities of his orchestral colleagues. His Concertino for Trombone stands as one of the era's most enduring contributions to the trombone repertoire, born from a direct request from the orchestra's principal trombonist when Mendelssohn's schedule would not permit the commission.

Why we love this

This piece has maintained its place in recital halls for nearly two centuries because it balances musical substance with genuine playability. The writing sits comfortably on the instrument, the three-movement form is cohesive without feeling sprawling, and the harmonic language never gets in the way of the lyrical content that audiences expect from a concerto.

What to expect

The Concertino unfolds with the elegance and directness of a 19th-century German concert piece. Its three movements move seamlessly from a lyrical Andante through a virtuosic Allegro to a spirited finale, never losing sight of vocal beauty even in the passage work. This is music written by someone who understood the trombone's capacity for both technical brilliance and profound singing quality.

Who it's for

Intermediate to advanced trombone or euphonium soloists preparing for recitals, competitions, or solo performances. This work rewards solid technique, musical maturity, and interpretive confidence from the performer.

How to get the most out of it

  • Shape the first movement's opening theme with a warm, singing tone; the melody needs to carry the emotional weight from the very first phrase.
  • Navigate the passagework in all three movements with clarity and evenness of articulation, allowing the accompaniment to breathe between phrases.
  • Use the fast sections as opportunities to demonstrate technical control rather than mere speed; precision here makes the lyrical returns more affecting.

How to use it

Program this as a centerpiece for a brass recital or as a standalone concerto performance. It pairs well with shorter 20th-century works or other trombone repertoire from the Romantic era, and it commands enough stature to justify a program all its own.

Skills your students will build

  • Singing, lyrical phrasing on a bass clef instrument
  • Three-movement concerto form and structural navigation
  • Technical passagework at multiple tempos with clear articulation
  • Sustaining long phrases with consistent tone quality
  • Balance and collaboration with piano accompaniment in a classical concerto context

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