Wolfgang Amadeus Mozart (1756-1791) was born in Salzburg, Austria. His talent for music is truly remarkable. He learned how to play the piano at 3 years of age by watching his father teach his older sister, began composing at 5 years of age, and when he was about 6, he played at the Bavarian court in Munich, the imperial court in Vienna, and noble houses. Up until he was 17 years old, he and his sister were touring musicians all around Europe. Most of Mozart’s compositions were written for himself in order to bring with him on tour. At 17 years of age, he was appointed concertmaster of the Royal Court of Salzburg.
When he was 30, he successfully premiered his opera The Marriage of Figaro. Mozart was truly a master of every genre of classical music, from opera to sonatas, symphonies, and concertos. He wrote over 600 pieces of music in his short 35 year life.
The Magic Flute is an opera written by Mozart that is divided into two acts. It is a story of Love and Drama. In Act 1, the main character, Tomino, the main character and a prince, is in the woods fleeing from a serpent. He faints but is saved by three ladies, attendants of the queen of the knight. Once he wakes up, he hears Papageno, a bird catcher coming, so he assumes that it was him who saved him. The three ladies return and say that it was them who saved him, and gave him a picture of Pamina, the queen of the knight’s daughter. Tomino falls in love, but is informed that she has been kidnapped by a high priest. The queen then arrives and offers Tomino her daughter’s hand in marriage if he can save her daughter. Tomino is given a magic flute to aid him, and Papageno, who will help Tomino, three magic bells. When they arrive at the Priest’s temple, it turns out that he is kind and wise, and that he must undergo tests to prove himself worthy of Pamina.
Acts 2 begins with a series of tests. The first test is for both Tomino and Papageno to remain silent. During the test, Tomino and Pamina meet, but because he is not allowed to speak, Pamina fears that he doesn;’t love her anymore. However, three spirits ensure her that he does. With the aid of the magic flute, they go through a series of trials and are successful. The queen is angered by everyone’s happiness, but she is cast out into darkness to never be seen again.
By Josh Ho
Noah Davies composed Testament during the summer of 2024. He had attended the DC Trombone workshop and had the pleasure of playing David F. Wilborn's “Arise!” for trombone choir, which served as the main, initial inspiration for the melodic, harmonic, and motivic structure of Testament. However, as Noah developed the piece more, he realized how special this work would become. He wanted this piece to serve as a culmination (or a “Testament”) of all of the experiences and memories he made at Baylor University. Because of this, he dedicates “Testament” to the Baylor Trombone studio, for their endless, unwavering support and camaraderie throughout the last four years.
HALO
Martin O’Donnell – OG Theme’s composer
Before acquisition by Microsoft/Halo’s XBOX days:
Development of Halo – arduous development of Halo’s Mac demo for prep at Steve Jobs’ MacWorld Keynote event. Developers worked rapidly to piece together Mac Demo.
Time ran out to get sound working, but Martin O’Donnell took on the “impossible task” of putting together a full orchestral score in the final weekend, with only the words “Ancient, mysterious, and epic” to guide him.
Worked with Michael Salvatori on theme
Melody: Martin used Beatles song “Yesterday” reworked using a Dorian Scale
Utilized Gregorian chant
One of gaming’s most iconic scores
For over 2 decades, the Halo Franchise has taken popular culture by storm through its landmark innovation to the sci-fi action genre and deep video game storytelling. Created by Bungie Studios and continued by 343 Industries, The adventures of The Master Chief and companion Cortana showcase a rich action-oriented space-opera experience which few games and media have been able to replicate. From humble beginnings within the then small Bungie Studios, the story of Halo’s musical themes come from unexpected origins.
During Halo: Combat Evolved’s early development, dating back before the franchise’s status as a Microsoft IP, Bungie had secured the opportunity from Apple’s Steve Jobs to showcase their game at the MacWorld Event. With just a couple of weeks to piece together a working Mac Demo, time ran out to get the audio working. Knowing the importance of sound for the Demo on such a large stage, Composer Martin O’Donnell took on the “impossible task of putting together a full orchestral score in the final weekend, with only the words “Ancient, Mysterious,” and “Epic” to guide him. Working with Michael Salvatori, O’Donnell reworked The Beatles’ song “Yesterday” to a dorianscale using a Gregorian chant to create the melody, the result of which provided the base theme for one of pop culture’s most iconic scores.
Arranged for solo trombone, trombone ensemble, piano and percussion by Baylor SoM alum Sasha Romero, Halo incorporates the iconic main theme of the franchise, as well as the accompanying “Driving Rock Groove” to bring the series’ epic nature to life in the trombone setting. Included also withinthis medley is the emotional “Greatest Journey” theme from Halo 3, and other noteworthy themes spanning the Halo Franchise. Romero’s scoring of the overall melody between soloist, alto trombone, and T. Tbn 1, as well as lower part ostinatos and dramatic chord hits invoke a challenging but powerful driving force. Romero’s arrangement also pays tribute to the iconic vocal theme through a profound singing section of the medley, allowing expressive musicianship and transition into the original theme which encapsulates the “Ancient, Mysterious, and Epic” proportions of the Halo series.
By Demetri Tyra
Madeline A. Lee (b.1994) is a freelance composer and arranger currently residing in Northwestern Virginia. She made her compositional debut with her work for brass quintet, titled Saudade, in January 2016. Since then, she has received numerous accolades for her works for brass. Her works have been heard on the international stage, receiving performances at such prestigious conventions as the International Trumpet Guild Conference, the International Horn Symposium, the International Women's Brass Conference, and the International Trombone Festival.
It Begins in the Dark was commissioned by Dr. Bradley Palmer and the Columbus State University Trombone Studio where they presented the World Premiere in April of 2023. This piece explores the emotions that arise from the end of any relationship. Lee describes these emotions by stating: “We are often left alone, unmoored, and even hopeless when we lose someone who was a major fixture in our life. “It Begins in the Dark” takes listeners from that place where it seems we will never see the light again and traverses the unfamiliar territory of starting anew. The work ends with a joyous rhythmic figure to underscore the recurring motif, showing that while our environment and influences may shift around us, we can still find ourselves… even in the dark.”.
By Tayton Crutsinger
Anthony Barfield is a trombonist, producer and composer who holds degrees from both The Juilliard School and the Manhattan School of Music based in New York City whose compositions have been performed throughout the United States, Europe and Asia. Barfield has received commissions from organizations such as the New York Philharmonic and Lincoln Center for the Performing Arts. He made his Carnegie Hall debut in 2012 at the New York Wind Band Festival where the wind band arrangement of this work was premiered. Mr. Barfield has performed as a trombonist at Avery Fisher Hall, Dizzy’s Coca Cola Club, Alice Tully Hall, and the Kennedy Center, among others.
Here We Rest was dedicated to the state of Alabama in tribute to the victims of its April 2011 tornado outbreak. The title was the Alabama state motto during the Reconstruction Era
The opening of the piece presents a series of three modally mixed chords in F that form the basis of the accompaniment of the primary theme, which is introduced by the outermost voices(Trombone 1 and 8) and spreads inwards in the choir. A related melody, reminiscent of Copland, appears later in the opening section. A second theme is presented by solos from the upper trombone parts, accompanied by static A-flat major harmony and a descending chromatic line — a gesture that suggests a “lament” or a “line cliché”, a chord progression technique that involves moving a line stepwise up or down against a stationary chord.
A tutti restatement of the second theme ends without resolution in a developmental area. Here, earlier ideas are presented in unfamiliar harmonic settings; previous themes appear in unexpected keys and modes, and the opening chord series passes through ascending keys, skipping only the original F. The development concludes with a series of descending suspensions and resolutions before the opening themes return, first in the Dorian mode a tritone away from the original, then elevated to A major. The opening chord series returns, once again traveling throughout the many voices of the ensemble, now centered a half-step higher in F-sharp, and the piece ends without resolution, symbolizing the loss of the tornadoes’ 238 victims and the anguish of many more survivors.
By Grace Lipscomb
Antonio Lotti (1667—1740) was an Italian Baroque composer known for his sacred choral music, operas, and compositions for the Venetian musical scene. Lotti spent most of his career at St. Mark's Basilica in Venice, where he rose from singer to maestro di cappella, producing a variety of music that reflected the emotional depth and stylistic intensity of the late Baroque period. His compositions skillfully blend the contrapuntal techniques of the Renaissance with the harmonic language of the Baroque, often creating works of profound expressiveness and structural clarity.
Lotti’s Crucifixus a 8, a part of his Credo, is renowned for its haunting harmonies and expressive dissonance. The eight vocal lines intertwine with rich chromaticism, evoking the solemnity of Christ's crucifixion. Here, it is brilliantly arranged by Adrian Taylor.
By Matthew Willingham
Derek Bourgeois was a notable British composer renowned for his extensive contributions to brass and wind ensemble repertoire. Over his prolific career, he composed more than 100 symphonies, distinguished by memorable melodies and a distinctive sense of humor. Educated at Cambridge and the Royal College of Music, he devoted much of his career to teaching and conducting, significantly influencing the brass and wind band communities. His music remains celebrated for its harmonic richness and rhythmic complexity, continuing to engage both performers and audiences.
Osteoblast, composed in 2004 for a trombone octet, Osteoblast is a vibrant and technically demanding piece that exemplifies Bourgeois’ expertise in rhythmic and melodic contrasts. The title refers to bone-forming cells, reflecting the composition’s energetic and robust character. The piece begins with a powerful fanfare, leading into a series of tempo shifts that create a dynamic musical landscape.
The rapid Presto sections require rhythmic precision and sustain a lively momentum, which is punctuated by slower, lyrical Lento passages. These contrasting moments introduce a haunting quality, highlighting the energetic drive of the surrounding material. Osteoblast embodies Bourgeois’ signature blend of intensity and humor, leaving a lasting impact with its bold and engaging musical narrative.
By Gannon Allen
When he was 30, he successfully premiered his opera The Marriage of Figaro. Mozart was truly a master of every genre of classical music, from opera to sonatas, symphonies, and concertos. He wrote over 600 pieces of music in his short 35 year life.
The Magic Flute is an opera written by Mozart that is divided into two acts. It is a story of Love and Drama. In Act 1, the main character, Tomino, the main character and a prince, is in the woods fleeing from a serpent. He faints but is saved by three ladies, attendants of the queen of the knight. Once he wakes up, he hears Papageno, a bird catcher coming, so he assumes that it was him who saved him. The three ladies return and say that it was them who saved him, and gave him a picture of Pamina, the queen of the knight’s daughter. Tomino falls in love, but is informed that she has been kidnapped by a high priest. The queen then arrives and offers Tomino her daughter’s hand in marriage if he can save her daughter. Tomino is given a magic flute to aid him, and Papageno, who will help Tomino, three magic bells. When they arrive at the Priest’s temple, it turns out that he is kind and wise, and that he must undergo tests to prove himself worthy of Pamina.
Acts 2 begins with a series of tests. The first test is for both Tomino and Papageno to remain silent. During the test, Tomino and Pamina meet, but because he is not allowed to speak, Pamina fears that he doesn;’t love her anymore. However, three spirits ensure her that he does. With the aid of the magic flute, they go through a series of trials and are successful. The queen is angered by everyone’s happiness, but she is cast out into darkness to never be seen again.
By Josh Ho
Noah Davies composed Testament during the summer of 2024. He had attended the DC Trombone workshop and had the pleasure of playing David F. Wilborn's “Arise!” for trombone choir, which served as the main, initial inspiration for the melodic, harmonic, and motivic structure of Testament. However, as Noah developed the piece more, he realized how special this work would become. He wanted this piece to serve as a culmination (or a “Testament”) of all of the experiences and memories he made at Baylor University. Because of this, he dedicates “Testament” to the Baylor Trombone studio, for their endless, unwavering support and camaraderie throughout the last four years.
HALO
Martin O’Donnell – OG Theme’s composer
Before acquisition by Microsoft/Halo’s XBOX days:
Development of Halo – arduous development of Halo’s Mac demo for prep at Steve Jobs’ MacWorld Keynote event. Developers worked rapidly to piece together Mac Demo.
Time ran out to get sound working, but Martin O’Donnell took on the “impossible task” of putting together a full orchestral score in the final weekend, with only the words “Ancient, mysterious, and epic” to guide him.
Worked with Michael Salvatori on theme
Melody: Martin used Beatles song “Yesterday” reworked using a Dorian Scale
Utilized Gregorian chant
One of gaming’s most iconic scores
For over 2 decades, the Halo Franchise has taken popular culture by storm through its landmark innovation to the sci-fi action genre and deep video game storytelling. Created by Bungie Studios and continued by 343 Industries, The adventures of The Master Chief and companion Cortana showcase a rich action-oriented space-opera experience which few games and media have been able to replicate. From humble beginnings within the then small Bungie Studios, the story of Halo’s musical themes come from unexpected origins.
During Halo: Combat Evolved’s early development, dating back before the franchise’s status as a Microsoft IP, Bungie had secured the opportunity from Apple’s Steve Jobs to showcase their game at the MacWorld Event. With just a couple of weeks to piece together a working Mac Demo, time ran out to get the audio working. Knowing the importance of sound for the Demo on such a large stage, Composer Martin O’Donnell took on the “impossible task of putting together a full orchestral score in the final weekend, with only the words “Ancient, Mysterious,” and “Epic” to guide him. Working with Michael Salvatori, O’Donnell reworked The Beatles’ song “Yesterday” to a dorianscale using a Gregorian chant to create the melody, the result of which provided the base theme for one of pop culture’s most iconic scores.
Arranged for solo trombone, trombone ensemble, piano and percussion by Baylor SoM alum Sasha Romero, Halo incorporates the iconic main theme of the franchise, as well as the accompanying “Driving Rock Groove” to bring the series’ epic nature to life in the trombone setting. Included also withinthis medley is the emotional “Greatest Journey” theme from Halo 3, and other noteworthy themes spanning the Halo Franchise. Romero’s scoring of the overall melody between soloist, alto trombone, and T. Tbn 1, as well as lower part ostinatos and dramatic chord hits invoke a challenging but powerful driving force. Romero’s arrangement also pays tribute to the iconic vocal theme through a profound singing section of the medley, allowing expressive musicianship and transition into the original theme which encapsulates the “Ancient, Mysterious, and Epic” proportions of the Halo series.
By Demetri Tyra
Madeline A. Lee (b.1994) is a freelance composer and arranger currently residing in Northwestern Virginia. She made her compositional debut with her work for brass quintet, titled Saudade, in January 2016. Since then, she has received numerous accolades for her works for brass. Her works have been heard on the international stage, receiving performances at such prestigious conventions as the International Trumpet Guild Conference, the International Horn Symposium, the International Women's Brass Conference, and the International Trombone Festival.
It Begins in the Dark was commissioned by Dr. Bradley Palmer and the Columbus State University Trombone Studio where they presented the World Premiere in April of 2023. This piece explores the emotions that arise from the end of any relationship. Lee describes these emotions by stating: “We are often left alone, unmoored, and even hopeless when we lose someone who was a major fixture in our life. “It Begins in the Dark” takes listeners from that place where it seems we will never see the light again and traverses the unfamiliar territory of starting anew. The work ends with a joyous rhythmic figure to underscore the recurring motif, showing that while our environment and influences may shift around us, we can still find ourselves… even in the dark.”.
By Tayton Crutsinger
Anthony Barfield is a trombonist, producer and composer who holds degrees from both The Juilliard School and the Manhattan School of Music based in New York City whose compositions have been performed throughout the United States, Europe and Asia. Barfield has received commissions from organizations such as the New York Philharmonic and Lincoln Center for the Performing Arts. He made his Carnegie Hall debut in 2012 at the New York Wind Band Festival where the wind band arrangement of this work was premiered. Mr. Barfield has performed as a trombonist at Avery Fisher Hall, Dizzy’s Coca Cola Club, Alice Tully Hall, and the Kennedy Center, among others.
Here We Rest was dedicated to the state of Alabama in tribute to the victims of its April 2011 tornado outbreak. The title was the Alabama state motto during the Reconstruction Era
The opening of the piece presents a series of three modally mixed chords in F that form the basis of the accompaniment of the primary theme, which is introduced by the outermost voices(Trombone 1 and 8) and spreads inwards in the choir. A related melody, reminiscent of Copland, appears later in the opening section. A second theme is presented by solos from the upper trombone parts, accompanied by static A-flat major harmony and a descending chromatic line — a gesture that suggests a “lament” or a “line cliché”, a chord progression technique that involves moving a line stepwise up or down against a stationary chord.
A tutti restatement of the second theme ends without resolution in a developmental area. Here, earlier ideas are presented in unfamiliar harmonic settings; previous themes appear in unexpected keys and modes, and the opening chord series passes through ascending keys, skipping only the original F. The development concludes with a series of descending suspensions and resolutions before the opening themes return, first in the Dorian mode a tritone away from the original, then elevated to A major. The opening chord series returns, once again traveling throughout the many voices of the ensemble, now centered a half-step higher in F-sharp, and the piece ends without resolution, symbolizing the loss of the tornadoes’ 238 victims and the anguish of many more survivors.
By Grace Lipscomb
Antonio Lotti (1667—1740) was an Italian Baroque composer known for his sacred choral music, operas, and compositions for the Venetian musical scene. Lotti spent most of his career at St. Mark's Basilica in Venice, where he rose from singer to maestro di cappella, producing a variety of music that reflected the emotional depth and stylistic intensity of the late Baroque period. His compositions skillfully blend the contrapuntal techniques of the Renaissance with the harmonic language of the Baroque, often creating works of profound expressiveness and structural clarity.
Lotti’s Crucifixus a 8, a part of his Credo, is renowned for its haunting harmonies and expressive dissonance. The eight vocal lines intertwine with rich chromaticism, evoking the solemnity of Christ's crucifixion. Here, it is brilliantly arranged by Adrian Taylor.
By Matthew Willingham
Derek Bourgeois was a notable British composer renowned for his extensive contributions to brass and wind ensemble repertoire. Over his prolific career, he composed more than 100 symphonies, distinguished by memorable melodies and a distinctive sense of humor. Educated at Cambridge and the Royal College of Music, he devoted much of his career to teaching and conducting, significantly influencing the brass and wind band communities. His music remains celebrated for its harmonic richness and rhythmic complexity, continuing to engage both performers and audiences.
Osteoblast, composed in 2004 for a trombone octet, Osteoblast is a vibrant and technically demanding piece that exemplifies Bourgeois’ expertise in rhythmic and melodic contrasts. The title refers to bone-forming cells, reflecting the composition’s energetic and robust character. The piece begins with a powerful fanfare, leading into a series of tempo shifts that create a dynamic musical landscape.
The rapid Presto sections require rhythmic precision and sustain a lively momentum, which is punctuated by slower, lyrical Lento passages. These contrasting moments introduce a haunting quality, highlighting the energetic drive of the surrounding material. Osteoblast embodies Bourgeois’ signature blend of intensity and humor, leaving a lasting impact with its bold and engaging musical narrative.
By Gannon Allen