Please DONATE to help with maintenance and upkeep of the Wind Repertory Project!

Concerto after Mendelssohn

From Wind Repertory Project
Jump to navigation Jump to search
David DeBoor Canfield

David DeBoor Canfield

This article is a stub. If you can help add information to it,
please join the WRP and visit the FAQ (left sidebar) for information.

Subtitle: For Trombone and Wind Ensemble

This work may also be known as Konzert nach Mendelssohn.

General Info

Year: 2017
Duration: c. 15:00
Difficulty: (see Ratings for explanation)
Original Medium: Trombone and piano
Publisher: [ Jeanné Inc.
Cost: Score and Parts - In process March 2018


1. Allegretto non troppo – 9:39
2. Adagietto
3. Allegro


(Needed - please join the WRP if you can help.)


None discovered thus far.

Program Notes

Not many people know that Mendelssohn was actually intending to write a concerto for Carl Traugott Queisser, the principal trombonist in his Leipzig Gewandhaus Orchestra. Unfortunately for trombonists and music lovers, the project was never realized, and consequently David DeBoor Canfield thought that it might be worthwhile to attempt to write a trombone concerto that might have borne some similarity to the one that Mendelssohn might have written. Given that Canfield likes to take a differing approach in the works he writes in his "After" series, for this work he took the short bridge movement that links the second and third movements of Mendelssohn's E Minor Violin Concerto, and expanded it into an entire movement, more or less in the style of the German master. After a near-verbatim quote of this movement, Canfield expands and develops the thematic material along the lines of 19th-century German practice. Thus, the first movement is written in modified sonata allegro form, with divergence from that form coming as the development section flows immediately out of the elaboration of the second theme in the relative major. Another novelty occurs after a short cadenza, where there is no coda, but only a reiteration of Mendelssohn's bridge movement.

The second movement is in A-B-A song form, with an opening that features long lines in the solo instrument. A middle section shifts from Db Major to its parallel minor, C# Minor, and picks up in activity and drama, with flourishes in the trombone part undergirded by dramatic gestures in the accompaniment. The movement concludes with a modified and expanded reiteration of the opening statement.

The work concludes with a driving finale in modified rondo form. The movement is fast with a lot of notes, and the spirit of the movement is inspired by that found in the Mendelssohn’s incidental music to A Midsummer Night’s Dream. As in other "After" works in Canfield's output, the composer didn't concern himself too much with the places in this work that sound more like Canfield writing in a 19th-century style than Mendelssohn, but he did make an effort to incorporate the melodic gestures and harmonic sequences normally associated with this great composer. The development section of the first movement also incorporates a good bit of counterpoint to pay homage to Mendelssohn's rediscovery of the music of Bach. The listener will also note that the key relationships of the three movements in this work exactly mirror those of Mendelssohn's E Minor Violin Concerto, albeit transposed up a semi-tone.

Concerto after Mendelssohn was written between December 10, 2016, and January 26, 2017, and orchestrated from February 20th to March 8th of 2017. This version for wind ensemble accompaniment was prepared in November of 2017 especially for Stephen Pratt and the Wind Ensemble of the Jacobs School of Music of Indiana University.

Canfield also sought to personalize this work for its dedicatee, Carl Lenthe, and did so through the inclusion of phrases from one of the latter's favorite Bach chorales, Wachet auf, ruft uns die Stimme, in the second movement. In the finale, there are also a couple of phrases from the famous Wedding March from Mendelssohn's Midsummer Night's Dream woven in at Lenthe's request as a wink to his wife Martha. The solo part of this work was edited by its dedicatee, who premiered the piano-accompanied version of the work with pianist Kimberly Carballo at Indiana University on October 1, 2017.

- Program Note from Indiana University Wind Ensemble concert program, 27 March 2018


(Needed - please join the WRP if you can help.)

State Ratings

None discovered thus far.


To submit a performance please join The Wind Repertory Project

  • Indiana University (Bloomington) Wind Ensemble (Stephen W. Pratt, conductor; Carl Lenthe, trombone) – 27 March 2018

Works for Winds by This Composer