Rhapsody for Euphonium and Concert Band
Program Notes
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.
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.
Rehearsal Notes
Rhapsody for Euphonium incorporates many opportunities to challenge the performer both technically and expressively. The opening Rubato (quasi cadenza, measures 1-6) should be extremely free of any rhythmic pulse. This allows the soloist extreme freedom of expression. It is important for the soloist to play measure 6 in a more exacting tempo in order to help establish the new tempo in measure 7.
Though measure 7 has an exact tempo marked, it is still important that the soloist maintains the freedom to be expressive. Having the freedom to bend the tempo is important and expected. The Allegro con spirit, in measure 32, is written in such a way that it is perfectly acceptable for the soloist to take a slower or faster tempo that indicated, as long as the style is correct. This style must be marcato throughout, however, it must not be too heavy or overly accented. When the opening theme returns at measure 69, the beginning style and expressive quality must also return. The accelerando in measure 88 must be carefully measured in order to once again capture the Allegro con spirit tempo, originally established in measure 32.
Be cautious with the Molto rall. In measure 118. Remember that the soloist has a long period of time to hold the final G concert. Traditionally, many soloists take a breath before the last note and play a high B concert in the last measure, instead of the G concert. This is most acceptable and encouraged, if the soloist has a strong, clear high B concert.
Rhapsody for Euphonium incorporates many opportunities to challenge the performer both technically and expressively. The opening Rubato (quasi cadenza, measures 1-6) should be extremely free of any rhythmic pulse. This allows the soloist extreme freedom of expression. It is important for the soloist to play measure 6 in a more exacting tempo in order to help establish the new tempo in measure 7.
Though measure 7 has an exact tempo marked, it is still important that the soloist maintains the freedom to be expressive. Having the freedom to bend the tempo is important and expected. The Allegro con spirit, in measure 32, is written in such a way that it is perfectly acceptable for the soloist to take a slower or faster tempo that indicated, as long as the style is correct. This style must be marcato throughout, however, it must not be too heavy or overly accented. When the opening theme returns at measure 69, the beginning style and expressive quality must also return. The accelerando in measure 88 must be carefully measured in order to once again capture the Allegro con spirit tempo, originally established in measure 32.
Be cautious with the Molto rall. In measure 118. Remember that the soloist has a long period of time to hold the final G concert. Traditionally, many soloists take a breath before the last note and play a high B concert in the last measure, instead of the G concert. This is most acceptable and encouraged, if the soloist has a strong, clear high B concert.