Fantasia for Tuba and Piano J. Curnow

FANTASIA

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James Curnow James Curnow was born in Port Huron, Michigan and raised in Royal Oak, Michigan. He lives in Nicholasville, Kentucky where he is president, composer, and educational consultant for Curnow Music Press,Inc. of Lexington, Kentucky, publishers of significant music for concert band and brass bando He also serves as Composer-in-residence (Emeritus) .on the faculty of Asbury College in Wilmore, Kentucky, and is editor of ali music publications for The Salvation Army in Atlanta, Georgia. His formal training was received at Wayne State University (Detroit, Michigan) and at Michigan State University (EastLansing, Michigan), where he was a euphonium student of Leonard alcone, and a conducting student of Dr. Harry Begian. His studies in composition and arranging were with F.Maxwell Wood, James Gibb, Jere Hutchinson, and Irwin Fischer. James Curnow has taught in ali areas of instrumental music, both in the public schools (five years), and on the college and university levei (twenty-six years). He is a member of several professional organizations, including the American Bandmasters Association, College Band Directors..National Association, World Association of Symphonic Bands and Wind Ensemblesand the American Society of Composers, Authors and Publishers (ASCAP). In 1980 he received the National Band Association's Citation of Excellence. In 1985, while a tenured Associate Professor at the University of lllinois, Charnpalgn.Urbana, Mr. Curnow was honored as an outstanding faculty member. Among his most recent honors are inclusion in Who's . Who in America, Who's Who in the South and Southwest, and Composer of the Year (1997) by the Kentucky MusicTeachers--Association and the National Music TeachersAssociation. He has received annual ASCAP standard awards since 1979. As a conductor, composer and clinician, Curnow has traveled throughout the United States, Canada, Australia, Japan and, Europe where his music has received wide acclaim. He has won several awards for band compositions including the ASBDAlVolkwein Composition Award in 1977 (Symphonic Triptych) and 1979 (Col/age for 8and), the ABAlOstwald Award ' in 1980 (Mutanza) and 1984 (Symphonic Varianls for Euphonium endBend), the 1985 Sixth International Competition of Original Compositions for Band (Australian Varianls Suiie), and the 1994 Coup de Vents Composition Competition of Le Havre, France (Lochinvar).

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Curnow has been commissioned to write over two hundred works for concert band, brass band, orchestra, choir and various vocal and instrumental ensembles. His published works now number well over four hundred. His most recent commissions include the Tokyo Symphony Orchestra (Symphonic Varianls for Euphonium and Orchesirs), the United States Army 8and (Pershing'sOwn, Washington, D.C.-Lochinvar, Symphonic Poem for Winds and Percussion),Roger Behrend and the DEGMusic, . i Products, Inc. and Willson Band Instrument Companies (Concerto for Euphonium and Orchestre), the O/ympic Fanfare and Theme for the O/ympic F/ag (Atlanta Committee for the Olympic Games, 1996),' the Kentucky Music Teachers Association/National Music TeachersAssociation in 1997 (On Poems ot John Keals for String Quartet) and Michigan State University Bands(John Whitwell, Director of Bands) in honor of David Catron's twenty-six yearsof serviceto the university and the university bands (Ode And Epinicion),

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FANTASIA for Tuba and Piano James Curnow

Program Note Commissioned by the Roanoke Rapids Band Boosters and dedicated to the Roanoke Rapids High School, Roanoke Rapids, North Carolina, David l. Hawks, Director, for David G. Lewis, Tuba soloist.

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The premiere performance was given at the North Carolina Music Educators Conference on November 2, 1987 with the composer conducting, and David G. lewis of the North Carolina Symphony as soloist. The composition begins with thesolo tuba stating the four notes (F, B~,G, C) on which the entire piece,is based. Ali other themes, and much of the harmony, are built on these four notes and their permutations. Immediately following the tuba statement is a brief Allegro section that features further development of the opening theme. The second section states the original four notes in diminution and augmentation over quartal, quintal chord structures and interplay between the soloist and the piano. The driving scherzo that follows (6/8) stays true to the fantasia form with many brief variations, developing the original four notes into cell structures that are interjected into the solos lines. After a sudden change of tempo, the tuba has the opportunity to show its beautiful tone and expressive abilities. A brief cadenza introduces the final scherzo that leads to an energetic conclusion.

Performance

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In the opening two-measure tuba solo, allow the soloist a great deal of freedom before accelerating into the scherzo in measure 3. The style here must not be heavy or ponderous,and the tempo must be even and secure. Ali harmonic material must be considered strictly accompaniment and kept in the baçkground. Any melodic material, which is stated by the soloist and answered by accompaniment, must be given prominence and proper balance. Ingeneral, balance problems will occur between the soloist and the accompaniment if ali dynamics are not adhered to carefully. The accompanist must allow the soloist a great deal of liberty during the cadenzas, and keep the tempi controlled and comfortable for the soloist.

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