[4] Reflecting on his experience, Lindberg wrote: ...this fantastic work with its amazing power... requires 'devotion', even for a highly skilled young instrumentalist of today... you still need to be a courageous musician and have a vision for yourself to embody his aesthetics.
For instance, in the middle of the piece, you have to take care not to over-stretch your muscles; the pressure has been so great for so long that you risk feeling unable to continue.
Even in a case like Troorkh, in which the orchestral part is very much accompanimental and is as precisely written as in any concerto of the classical repertoire, the conductor has to be very supportive; for example by taking care to avoid any kind of vibrato, ensuring a continuous glissando playing, and balancing the dynamics.
[6] Lindberg also stated that, in subsequent performances, he would play Leopold Mozart's Trombone Concerto followed immediately by Troorkh on the first part of a concert.
[7] Following the success of Troorkh, Lindberg helped arrange the commission of Zythos for trombone and 6 percussionists,[7] then premiered the work in October 1997 with Ensemble Kroumata.
"[10] According to Harley, "The formal organization of the music melds with the dramatic considerations in ways that allow the single voice to project above, through, against, and in conjunction with, the imposing forces of the full orchestra.
"[11] According to C Anders Jallén, in Troorkh, "The role of the orchestra is mainly to create acoustic spaces;" it "becomes a single body of sound; if one perceives melodies this is owing to the ear's tendency to register high frequencies.