From the Heart

Riki McDonnell
Accompanied by Lee Farley (piano)
Doyen Recordings: CD189
Total Playing Time: 74.10

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What ever happened to the art of lyrical euphonium playing? It is not that the current breed of young and technically brilliant uber-euphoniums cannot play in such a manner; it is just that more often than not they choose not to.

It is well to remember that the very word euphonium derives from the Greek euphonos meaning "pleasant sounding" (according to the Oxford Companion to Music), yet in the past 25 years the brass instrument that so readily allies itself to the majesty and splendour of the cello has invariably been used as a vehicle to explore the extremities of technique. As a result we have forgotten just how beautiful it can sound performing the most simple and eloquent of musical lines. Pyrotechnical brilliance is something to be admired for sure, but sheer technique is a rather cold and lifeless virtue on an instrument that comes truly to life when played with a full bodied warmth of timbre.

The modern instrument itself has also lost some of its ability to be played in such a manner. The expanded bore and adjustments to lead pipes, valve and slide mechanisms may mean the 21st century euphonium is easier to blow, more flexible to play and keep in tune, but it is also an instrument that has lost some of its immediacy of tonal colour. It is now a much darker less vibrant tool that can all too often sound dull and lifeless. The homogeneity of sound it now produces also robs it of its individuality as well, so that it is difficult at times for even the very best players to mould and change its timbre to suit differing styles of music. It is in danger of becoming the musical equivalent of the Toyoto Avensis car – a bland, practical standardised vehicle that has as much warmth and character as an accountants Christmas Party.

Which brings us nicely back to this release, entitled ‘From the Heart' by Riki McDonnell. No accountant he, and a man who has won world wide admiration for his playing abilities, and especially for his melodic, lyrical style of performing slow melodies. This guy can certainly play the fast stuff – he has an enviable technique, but it is his expressive playing of even the most simple of tunes that stand him out from his contemporaries.  

This fine release showcases this in spades, and confirms that the New Zealander belongs to a long and distinguished line of what can be called operatic euphonium performers; players such as Geoff Whitham, Trevor Groom, John Clough and Nicholas Childs – all of whom could wow a crowd with the pyrotechnics, but also send them home simply awed by stupendously beautiful melodic playing of the most simple slow melody or aria. Perhaps, Riki McDonnell is the last of the breed (although the likes of David Thornton, David Childs and Morgan Griffiths can do it so well when they take the opportunity) but perhaps he is just a tremendously talented musician who knows the difference between what sounds merely impressive and what sounds simply great.   

The 17 tracks here are excellent examples of this; from Edward Elgar and Frederic Chopin through to Peter Graham and Goff Richards, with stop offs to cover such diverse musical talents as Ennio Morricone, Eugene Bozza, Ivor Bosanko, Barrie Gott and Anastassia Pozgoreva. McDonnell masters them all with the ability to change the sound and character of the instruments voice that ranges from the very dark and plumby to the light and almost baritone in shade. His lyrical style is well suited to the chosen material and his ability to shape and mould the solo line is subtle and tastefully understated. It is tremendously elegant playing.

It also helps that the release is in the form of a recital, rather than just a selection of solos with brass band backing, which sometimes lessens the ability of the soloist to highlight the subtleties that become so much more apparent with sympathetic and beautifully balanced piano accompaniment (and high praise should go to Lee Farley, the pianist for this). 

It allows us therefore to appreciate a fine talent (his CV will take some beating) and one who has made it something of a personal mission to restore the euphonium back to its rightful musical place – a virtuoso instrument indeed, but a virtuoso instrument whose core is based on the ability to sound so beautiful. He is of course married to a Welsh woman (which definitely helps!), but he certainly has a most musical heart from which he plays with such distinction.

It results in a fine solo release that has been well produced (although a slap on the wrist to the person who got his name wrong on the CD spine) and is a welcome reminder in this age of everything needing to be faster and quicker that the true virtues of beauty and eloquence remain just as important as they ever where.       

Iwan Fox

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