The first movement of Derek Bourgeois’ Trombone Concerto is constructed Classically: the solo trombone immediately launches into the opening theme in F minor, conceived harmonically in a sequence of descending thirds and it is the solo trombone too that introduces the lyrical second idea, in A flat.
These contrasting subjects give the composer ample opportunity to let loose his fertile imagination, whether expanding on the Baroque qualities of the opening material in a fugato section, or boldly stating the romantic second theme leading to cascading sextuplets, or with the soloist presenting the first theme in augmentation against a ripple of semi-quavers.
After this development, there is virtually a formal recapitulation and the soloist repeats the second theme in tonic (F) major. The movement closes with pianissimo chords - no great bravura here, but leading us in mood to the second movement which opens a tone lower in E flat.
Here, the rich tone of the soloist is matched by three accompanying trombones - with the writing equalling the expressiveness of a cello quartet. Gradually the rest of the low brass join as the solo trombone weaves a seamless, almost Wagnerian theme, extending phrases sequentially.
Whilst most of the slow movement is contemplative, Bourgeois allows the orchestra to unleash the full fortissimo passion implied in the second theme, before the movement closes as it began - but this time only two trombones accompany the soloist, and all three are muted.
After the passion of the slow movement, Bourgeois adopts a Classical rondo form as a 6/8 Scherzo, marked Presto, which gives the release we need. It is fun, to be thrown off lightly as we enjoy the semitone shifts with a wry smile. Towards the end of the movement is a cadenza which alludes to the thematic content of the first movement, but aurally the hard work has been done, For the soloist however, the music requires a virtuoso combination of slide and tongue.
