Update Title: 14F05FA7-A360-400F-A6A1-DD97D580852E

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Though the trumpet, horn, and trombone are all parts of the brass family, each possesses a particular color as well as a whole range of potentials and limitations that allows it to have its own unique personality.  Therein lies the challenge to create a work that explores the nature of each instrument while preserving the concept of the ensemble.

The Concerto opens (Allegro brillante) with a brilliant fanfare in which the soloists engage in successive bravura motivic statements. Soon the entire orchestra is drawn into the exchange, introducing more syncopated material into the texture, and the brief movement concludes in a fast flourish.

The second movement (Allegro deciso) begins with a jaunty rhythm under a buoyant theme carried mostly by the solo trumpet.  The horn and trombone interject and comment around the trumpet, creating a sense of dialogue.  The nature of the conversation undergoes significant changes, at one point becoming rather humorous.  Near the middle of the movement the mood assumes a more lyric quality, and as it does the soloists exchange statements more frequently in imitation.  Though the material continues uninterrupted, the mood becomes more and more clearly heroic as the trumpet, with increasing assertiveness, takes the lead.  Soon the entire orchestra is engaged, and the piece moves toward its most intense and sustained passage.  The soloists hand the material back to the orchestra, which in turn reaches a powerful climax.  A fast-paced and brilliant coda brings the movement to and end.

The third movement (Adagio espressivo) is built upon the lyric potential of each of the respective solo instruments.  In succession, the horn, trombone, and trumpet are given long unbroken melodies, each suited particularly to its instrument.  Following a brief interlude in the form of a chorale, the three perimposed in part on the other two--an effect of overlapping on the part of the three soloists.

The fourth movement (Allegro molto) provides a rousing conclusion to the Concerto; its brisk pace and unpretentious nature remain constant from start to finish.  Some special brass effects heard near midpoint become the transition to the cadenza, following which the whole orchestra joins the soloists in a joyous romp to the finish.  --David Ott

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