Welsh Collection

David Childs (Euphonium)
Accompanied by the BAYV Band
Conductor: Robert Childs
Doyen: DOY CD200
Total Playing Time: 69.15 mins

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It was back in 1996 that many people were introduced to the prodigious talent of David Childs, when he joined his father at the gala concert following the 1996 British Open, the recording being released on cd shortly afterwards. 

Indeed the title of "Prodigy" was chosen for his first solo release, with his then band, Brighouse and Rastrick, and it is a very youthful David that appears on the cover!  Unlike many child prodigies, who sometimes flower for a short spell but never truly fulfil their potential, David seems to go from strength to strength.  His concert work and recordings cover a very wide gamut, from works composed for him by leading classical composers such as Alun Hoddinott to more reflective items such as were featured in "Hear my prayer", his recording with Hendon Salvation Army Band.

His latest release is entitled "Welsh Connection" and he is ably supported by his own band, BAYV, with his father conducting.  It includes a wide range of repertoire, giving the soloist the chance to show just how rounded a player he has become, with the overwhelming impression being the emphasis on musicality – the technical difficulties are never allowed to disrupt the flow, and his phrasing is exemplary.

The first item, Rossini's "Introduction, Theme & Variations", was written for the clarinet, which in the hands of the average player has a much wider practical range than the euphonium.  For David however, and just as David Thornton showed in his own solo recording of the work, it makes a good showcase for a player who is comfortable across both high and low registers. 

The transcription here, by Christian Jenkins, was premiered at the Regent Hall Brass Arts Festival in 2004, where the transparency of the scoring allowed the soloist to come through as well in live performance as he does in this recording, and without the visual images one is somehow less conscious of the frequent moves into the pedal notes.  The scales and arpeggios seem to flow effortlessly, whilst the slower sections reveal careful attention to detail, with an excellent rapport between soloist and band.

The traditional Welsh air "David of the White Rock" has appeared in various guises, including arrangements by George Willcocks and Ray Bowes.  On this occasion, the setting is by Darrol Barry and eschews any excessively florid writing, allowing the tune to speak for itself, with effective use of various tone colours in the accompaniment, and a brief coda for the euphonium.

Michael Ball's "Concerto for Euphonium" was commissioned for David to perform at the 2002 Welsh Brass Arts Festival, where the accompaniment was provided by the Parc and Dare Band.  Following the premiere, the work was revised and it is this latter version that has now been recorded.  In four interconnected movements it shares many qualities with the composer's other works for brass, music which combines an accessible musical language with technical challenges for the soloist.  It is a predominantly lyrical work, with a gentle opening leading into a lively Allegro, punctuated by shot chords from the band.  This section is notable for the agility of the soloist, and the uniformity of tone colour displayed across the whole range of the instrument.

The slow movement demands good control with its wistful, often high-lying phrases, whilst sections of the reflective cadenza remind one somewhat of the euphonium solo in "...Dove Descending".  The scherzo finale that follows, remaining predominantly in a tonal idiom, although with effective use of the whole tone scale at one point, brings more pyrotechnics and the occasional whoop from the soloist, with the dramatic final bars bringing the piece to a triumphal conclusion.

Several solo works have been extracted from larger pieces in recent years, notably Peter Graham's "Holy Well" (from "Alderley Edge") and Robert Redhead's "Comfort my people" (from "Isaiah 40").  David (and his excellent partner at BAYV, Nigel John) have justly received many plaudits for their rendition of the euphonium duet in Philip Wilby's "Revelation", where its appearance is a welcome oasis of calm amid the frequently tumultuous music surrounding it. Entitled "Adagio from Revelation", and supplied with a newly-written introduction and coda, divorced from its original setting it doesn't seem to have the same impact, although this is no reflection on the two soloists, whose rendition is first class.

"Napoli" (Bellstedt arr Robert Childs) is another solo which appears in various forms, and Robert Childs based his version on that by Donald Hunsberger, as performed by Wynton Marsalis with the Eastman Wind Ensemble on his cornet lp "Carnaval" (sic).  He has incorporated many trademark "Childs" features, with a testing cadenza at the start and a sustained top F at the finish.  Even in this, the most ostentatiously showy piece in the programme, David never allows the effects to take over, maintaining in his firm control over vibrato and tone an example that others would do well to follow.

With most of the programme items the "Welsh Connection" is fairly obvious, via composer, arranger dedicatee.  Introducing the "Morceau de Concours" by Edward Baratt (also spelt Barat) the sleeve notes comment on the emphasis on education as many working class Welshmen have strived to escape from poverty.  The link may be a little tenuous, but it is appropriate to have an examination piece included, and this "Morceau", dedicated to J. Balay, soloist with La Musique de la Garde at de l'Opera, was commissioned by the Paris Conservatoire in 1957.  It is an extended work, with a particularly attractive central section, with long, sustained phrases, with a distinctive French flavour to it.  The lively finale ends with scales in contrary motion, the band coming down while the euphonium ascends.

"Myfanwy" is probably one of the best known Welsh melodies, and one which has occasionally provoked some controversy when played in Hymn Tune contests, although it has been used as such within the Salvation Army for many years set to various verses.  Written by Joseph Parry, the original words tell of a heart-rending story of unfulfilled love and human tragedy, and something of this comes across in the plaintive melody.  The arrangement is by Denzil Stephens, formerly solo euphonium with Black Dyke and a past Musical Director of the BAYV band under its previous name of Cory, a partnership which brought the European Brass Band Championship to Wales in 1980.  Again, the arranger doesn't obscure the simplicity of the melody, treated in turn tenderly and delicately by the soloist, with a long, steady final note.

The final item is a new composition by Philip Sparke, following on from previous success such as "Pantomime" (written for Nicholas Childs), "Fantasy for Euphonium" and "Party Piece".  "Harlequin" is dedicated to David Childs and was first performed by him at the 2005 All England International Championships in Cambridge.  Opening quietly, and with the band echoing phrases from the euphonium line, the soloist is soon to be found in the upper register, demanding control and restraint from both band and soloist.   When the livelier music comes it does so with a vengeance, although it is punctuated by a somewhat nostalgic interlude with a touch of Malcolm Arnold about it.  With scales and arpeggios at breakneck speed, and some brisk double-tonguing thrown in for good measure it brings the programme to an end.

So that is that, or rather it would be if you followed the sleeve notes and turned off the player at that stage.  If, however, you allow the disc to run on, a bonus track is revealed in the form of "Ducati SPS 916", the first movement of the "Pearls" suite by the Hungarian composer Roland Szentpali.  Accompanied by organ and drums, it makes for a distinctive encore to the programme, and also provides an interesting comparison with Steven Mead's version, with piano accompaniment, on "The World of the Euphonium, Volume Four".  A bit of fun it may be, and a chance to let ones hair down a little, but it does whet the appetite for a recording of some of the other more contemporary works, such as "Skunk" – maybe next time, or as a contrast to the two Alun Hoddinott pieces?

The disc is attractively presented, with an introduction from David himself and informative programme notes by Mark Turner, and the recorded balance is excellent.  Both soloist and band are clearly in good form, and the recording should please both lovers of a good tune as well as those on the lookout for technical dexterity. 

Peter Bale

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