Concerto: Trombone Book

Samuel Adler's extraction of three trombone-original movements from Leopold Mozart's Serenade gives advanced trombonists access to 18th-century material that sits naturally for the instrument. The provision of both alto and tenor clef parts recognizes the diversity of trombone practice and makes this work genuinely usable across different approaches to the instrument. It's substantial repertoire with genuine stylistic weight, not a transcription that feels forced onto the instrument.

These movements possess the elegant poise and balanced lyricism characteristic of mid-18th-century instrumental writing. The trombone voice sings with clear melodic purpose while the piano provides harmonic sophistication and occasional solo interjections that create genuine musical dialogue. There is an air of courtly refinement here, with structured phrases and graceful embellishments that reward sensitive, articulate playing.

Grade 5 trombonists seeking substantial solo repertoire from the Classical era are the primary audience for this work. It suits advanced high school players and serious college-level students working with a piano accompanist, particularly those studying in classical or orchestral traditions.

• Approach the articulation with period-appropriate clarity. Use a light, detached style in passage work while allowing longer notes their full resonance.
• Balance your tone production across both registers. The alto clef version requires flexibility in the upper range, so practice transitions between the staff positions smoothly.
• Listen carefully to the piano part; Mozart's keyboard writing is conversational rather than merely accompaniment, and your phrasing should acknowledge these musical exchanges.
• Shape phrases with attention to harmonic rhythm. The Classical style relies on clear phrase architecture, so let the harmony guide your breathing and articulation choices.

This work functions well as a recital centerpiece for a trombone student soloist, particularly in programs that emphasize historical repertoire or that pair Baroque and Classical works. It could also serve as a substantial supplementary solo for a jazz or commercial ensemble-based trombonist who wants to develop classical chops. Consider programming it alongside other 18th-century wind solos to create a thematic concert section.

• Reading both alto and tenor clef fluently
• Balancing solo line with responsive piano accompaniment
• Executing Classical-era articulation and phrasing conventions
• Sustaining lyrical passages with consistent tone quality across the range
• Managing harmonic clarity and phrase architecture in moderately complex textures