Celtic Charm

David Childs goes native with a showcase of Celtic musicality and fiddly diddly technical brilliance...

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David Childs (euphonium)
Accompanied by: The Cory Band
Conductor: Robert Childs
Doyen: DOYCD214
Total playing time: 74.57 mins

In the sleeve notes to his latest recording, “Celtic Charm”, David Childs explains that he has always been attracted to Irish music, and decided to feature both Irish and Welsh items when selecting the repertoire. 

There is considerable variety in style and approach, but nothing that should be too off-putting for the listener – even if some of the titles are likely to present a few problems to most programme compères! Many of the items have particular significance because of links to David and his family, with a number of pieces having specially composed or arranged. 

The list of credits reads rather like a “Who’s who” of the current banding world, with such names as Philip Sparke, Rodney Newton, Darrol Barry and Paul Lovatt-Cooper, but it is also encouraging to see new blood being given a chance, with the inclusion of “Amidst a Celtic Dream” by Benjamin Tubb. 

A student at the Royal Northern College of Music and currently playing horn with Freckleton Band, Ben’s composition incorporates a lament – quoting “Amazing Grace” – a lyrical cadenza and, in David’s words, “a grandstand close”. Frequently exploiting the euphonium’s upper range, and with some unexpected glissandi, it receives a committed reading and premiere recording.

A number of traditional melodies are featured, including the Welsh love song “Ar Lan y Mor”, where reference is made to recordings by Bryn Terfel and Katherine Jenkins, but not to the master of them all, Max Boyce! The arrangement by Leigh Baker features the unusual sound of bowed vibraphone supporting the muted soloist. 

In Kenneth Downie’s treatment of “The Sally Gardens” and Stephen Roberts’ take on “Carrickfergus” David produces some beautifully sustained playing, as he does in Paul Lovatt-Cooper’s earliest composition, “Donegal Bay”.

The Welsh folk song “Y Deryn Pur” (“The Gentle Dove”), a favourite of David’s late grandfather John Childs, has been sensitively arranged by Alan Fernie. “Tros Y Gareg” (“Over the Stone”) is attributed Rhys Bodychen, leader of a troop of Welsh forces at the battle of Bosworth Field, and there is a haunting quality to the playing, enhanced by Tony Small’s lightly-scored accompaniment, that makes this one of the undoubted highlights of the recording. 

Gareth Wood’s new version of “Bugellio’r Gwenith Gwyn” – more familiar to us non-Celts as “Watching the Wheat”- incorporates a few unexpected harmonic twists and calls on the soloist to produce some nifty elaboration on the theme.

Livelier melodies also get a look in, with Rodney Newton’s double jig, “The Irish Washerwoman”, the melody of which also features in the final track, Philip Sparke’s “A Final Fling”, taken by David and the band at break-neck speed to great effect. There is also an amusing off-key interlude that the producers of “Tom & Jerry” would have been proud of! The sprightly “Reels and Jigs” comes from the prolific pen of Darrol Barry, who has devised something of a tour de force, with intricate rhythms and figures for both soloist and band.

Other arrangements of well-known melodies include Bill Whelan’s “Riverdance” and Peter Graham’s “A Minstrel Boy”, combining the melody in the title with the reel “Toss the Feathers”. In “Danny Boy”, for which David credits David Lancaster for inspiration, he plays all four euphonium parts, but avoids any excessive sentimentality.

Of the remaining items, Rodney Newton’s “Caelidh” was premiered by David with the Brighouse & Rastrick Band in 1999, whilst the same composer’s “Twm Sion Cati” portrays the hero, a sort of Welsh Robin Hood, as he is pursued on horseback. 

Philip Wilby’s “A Celtic Charm” started out as a work for flute and piano, dedicated to Peter & Norma Wilson and premiered at their wedding, and the version for euphonium and band has been made especially for this recording.

The other new composition, Paul Lovatt-Cooper’s “’Neath the Dublin Skies”, retains its Irish character whilst also allowing the soloist to display many advanced techniques, such as multi-phonics and glissandi, all of which David pulls off with aplomb.

The attractive 16-page booklet includes comprehensive notes on the music, soloist, band and conductor, but no listing of band personnel taking part. 

The whole project appears to have been something of a labour of love, and is a worthy addition to David Childs’ growing discography, showcasing his technical ability and formidable technique, but above all reminding the listener of his fundamental musicality, with any pyrotechnics serving the cause of the music, rather than vice versa. 

The accompaniments, by David’s own band Cory, conducted by his father, Robert, are exemplary, demonstrating the excellent rapport they have with one another, and making even the most awkward cross-rhythms seem perfectly natural.

Peter Bale

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