Per Brevig, trombone; Bergen Symphony Orchestra, Karsten Andersen, conductor; New England Conservatory Repertory Orchestra; Greig Shearer, flute; Richard Pittman, conductor; Western Michigan University Wind Ensemble; Carol Bjerregaard, conductor

Quintet A: Richard Toering, Trumpet; Steve Reed, Trumpet; Ingrid Felt, French Horn; John Dickey, Trombone; Mike Shannon, Tuba

Quintet B: Les Jackson, Trumpet; Karen Baccaro, Trumpet; Denise Mosier, French Horn; Tom Shannon, Trombone; Gregory Robinson, Tuba

Quintet C: Bret Theduer, Trumpet; Toney Womack, Trumpet; Janet Grahm, French Horn; Roger Menning, Trombone; Andy Hagenburg, Tuba

Walter Ross writes:

“The Trombone Concerto was written at the request of Per Brevig who premiered the work with the University of Virginia Orchestra under Joel Lazar in 1971. The Concerto was planned as a work which would display the aggressive, lyrical, witty, and flamboyant qualities of the trombone. While I hope these qualities are apparent in each of the three movements, the movements themselves are based on the Baroque idea of concerto form; that is, they are sectional rather than developmental. The titles Capriccio, Canzona, and Fantasia, which are drawn from Baroque instrumental forms, reflect this concept.

“After I had written my concerto for tenor trombone, several bass trombonists asked me for a work specifically for bass trombone. Since I had written other pieces for solo instrument and tape, I decided to try the same combination with the bass trombone. The idea of Prelude and Fugue is very old, but it somehow seemed incomplete to me, and I decided to 'complete' the idea with a dance. I searched for several months and finally found a woman in her 50's who remembered the Big Apple dance and demonstrated it to me. Alter her demonstration I finished the composition in one week in September, 1972. The Prelude is aggressive and comic, while the Fugue is more contemplative. The Big Apple is a practice session for the trombonist as he tries out a few "licks" (the next-to-last is a version of the fugue subject) until he reaches the final form of the dance and finishes the movement.”

Joseph Schwantner writes:

“Modus Caelestis (Consortium III) was written in 1972 for 'Zeitgeist in Musk,' a contemporary chamber ensemble at the Eastman School of Music. The premiere performance took place on April 29, 1972 in Kilbourn Hall, during the 50th Anniversary Festival of the Eastman School, with Bruce Hangen conducting. The work is scored for 12 flutes, 6 violins, 3 violas, 3 cellos, piano, celeste and 3 percussionists (vibraphone, glockenspiel, tubular bells, crotales, and tam-tams).

“The title Modus Caelestis or 'Celestial Melody,' while not specifically programmatic, nevertheless evokes sonic images that seem to suggest the above instrumental ensemble and thus to provide potentially viable and interesting sonorous resources.

William Penn writes:

“Ultra Mensuram (1971) was written for the Georgia State University Ninth Annual Brass Symposium, directed by William Hill and has since been performed by several brass ensembles, including the Eastman Musica Nova, conducted by Bruce Hangen, and the group which appears on this record.

“The score makes use of spatial and graphic notation. 'Ultra mensuram,' in Renaissance notation, refers to music that was too complex to be properly notated; thus, 'beyond mensuration.' The title was suggested by Dr. Richard Klausli of Michigan State University.”

This title, originally issued on the CRI label, is now available as a burn-on-demand CD (CD-R) or download in MP3/320, FLAC or WAV formats. CD-Rs come in a protective sleeve; no print booklet or jewel case included. Full liner notes are accessible via the link above.