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Download soundfiles from the concert!
Click on the following mp4 files to download and enjoy: First movement (15,2 MB) - Second movement (9,7 MB) - Third movement (7,6 MB)
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Click on the following mp4 files to download and enjoy: First movement (15,2 MB) - Second movement (9,7 MB) - Third movement (7,6 MB)
Steven Mead gave the world premiere of a new euphonium concerto on a historic night with the Stuttgart Philharmonic Orchestra on November 23.
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The new concerto , titled 'The Hallows' made a huge impression on the capacity audience at the famous Beethoven Hall in the Liedehalle, Stuttgart. Steve received great critical acclaim from the Norwegian conductor, Arrild Remmereit, composer Rolf Rudin, the orchestra and music critics alike. The 25 minute work received a 5 minute ovation at the conclusion of the performance. Stuttgart arts critic Erwin Schwarz wrote a review in the main newspaper under the title: 'Brilliant Brass' (translated from the original German) : “…The second night of the current concert series was Rossini's "William Tell" Overture , Beethoven's "Eroica" and the crowning glory of the program was the English Euphonium-Artist Steven Mead. The had with his euphonium at least four octaves and projected clearly up to the farthest corner of the hall acoustically, and on this visually bright brass instrument performed true heroic deeds with virtuoso cadenzas and beautiful flowing melodies to perform. And the audience were indeed fortunate to be present at this world premiere of the Concerto for Euphonium and Orchestra Op 75 with the title “Hallows” (shrines). The three movements were inspired by ancient Irish folk legends, and about which the composer Rolf Rudin became the storyteller. Steven Mead displayed astonishing ease with the technically breathtaking virtuoso solos, and showed a nonchalant sovereignty. …” (Stuttgarter Nachrichten 24-11-07) |
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Steve's own impression of the concerto suggests this is more than just another new concerto , but marks a major landmark in the repertoire for solo euphonium and orchestra. “ When I first received the solo part from Rolf, about 6 weeks before the premiere, I had two clear emotions, firstly that this was a long and complex work and secondly that is was incredibly well written for the euphonium. I shouldn't have been surprised as it was clear that Rolf Rudin's attitude to writing this concerto had been meticulous from the outset. We had met several times in Germany and he had driven hours to meet me after concerts or at one of my regular Besson instrument testing visits to Markneukirchen. Each time I had been impressed with Rolf's desire for a greater understanding of writing for the euphonium, not just the obvious matters of range and dynamics etc but varieties of articulations, mutings, aspects of flutter tonguing, multiphonics and where things 'sounded' best in the range. It was clear this would be no ordinary concerto using the traditional repertory of tried and tested technical and melodic 'cliches'. I had no concept at that time of how it would sound with the orchestra and was very curious to say the least how it would sound when it all came together at the main rehearsal with the orchestra, the day before the performance. I had received a handwritten full score , (a huge book !) and some time after a computerised midi file which, as it turned out did no justice to the magnificent sounds I heard at the first rehearsal. The solo part had been my constant companion on all my journeys since I received it. Some of the challenges at first seemed insurmountable, especially the 'high wire' cadenza two thirds of the way through the long and fast second movement, with its large fast leaps, fast runs and cross rhythms. Other parts were clearly going to be just wonderful to play, especially the whole of the third (final) movement, entitled Epilogue, where fine extended arching melodies accompanied by mainly celeste, harp and cellos would show off the true lyric beauty of the euphonium. It is one of those pieces that is simply well worth the study, and knowing the premiere would be with a top professional orchestra in one of the top concert halls in Europe and with a capacity 2200 audience…is any more motivation really needed? |  |
The Hallows Concerto was deeply satisfying to play and the performance on the night really couldn't have gone much better. There was a power and spirituality about the music that I have never encountered in the repertoire of the euphonium before and the feeling as the final long notes drifted away into silence was simply unforgettable. Having a major euphonium concerto end softly seems initially to go against the psyche of euphonium players who have been brought up on a diet of loud top C's or, in recent years, high F's (concert Eb) to finish, but the last two mesmerising minutes of this new concerto has for me broken that superficiality for ever. I hope once published, all top euphonium players will take on the challenge of 'The Hallows' Euphonium Concerto, by Rolf Rudin. At last we have a euphonium concerto that can sit next to great orchestral literature , as this one sat next to Beethoven's 3rd Symphony in the concert. Thanks Rolf for a work of genius.
- Press release, Steven Mead December 5 , 2007