Rhapsody for Euphonium by James Curnow (1978) Dr. Matthew van Emmerik, Euphonium

Rhapsody for Euphonium
James Curnow, born: 17 April 1943
Port Huron, Michigan, United States
Dr. Matthew van Emmerik - Euphonium, Peter Baker - Piano
For the performer on this recording, Dr. Matthew van Emmerik, James Curnow's 'Rhapsody for Euphonium' holds a special place in his career as a Euphonium player/performer. There are few works for the instrument that are as accessible and as satisfying, however the notion that this work is of an easy nature is completely false. For performers wishing to attain a high-level outcome, there are many areas not only technical which need clear attention and focus for a 'premiere' style performance. This work has inspired many composers over the years, but few works have the feeling and importance of Curnow's Rhapsody, of which, still holds is place as one of the most important pieces in the euphonium repertoire. NB: The opening section of this performance experiments with 'open' strings on the piano, to create a different resonant effect.
Originally written by the composer as a teaching piece for his own euphonium students, Rhapsody for Euphonium is dedicated to the memory of the composer’s teacher, Leonard Falcone. Since its first release in 1978, Rhapsody for Euphonium has gone on to become a very important part of the euphonium literature.
The composition begins with an unaccompanied soliloquy by the soloist. This beautiful melody, set in the Dorian mode, establishes the molto espressivo style of the first third of the composition. Six measures later, the ensemble enters, playing undulating rhythmic patterns that help to create intensity. The solo continues with the euphonium presenting musical material, which is imitated and answered by the accompanying ensemble.
The second third of the composition features an exciting scherzo that presents call and response type statements between the soloist and the ensemble. Contrasting dynamics, exciting syncopation and fast-paced sixteenth passages also highlight this portion of the solo.
The last section of the solo features the extremely melodious tone of the euphonium in a lovely obbligato passage. This obbligato flows over melodic material from the first third of the piece. Via a rapid accelerando, the solo moves into a brilliant coda, which recapitulates many of the thematic ideas from earlier passages. * Program note from score
Recorded exclusively on the Shires Q41 Large Bore Euphonium (silver plate, no trigger) with a 'van Emmerik Signature 4G/3G Mouthpiece'
Recorded at Oaklands Productions - www.oaklandspr...​​
Melbourne, Victoria, Australia - 19th April 2021
Engineer and Producer - Jarrad Gilson
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