David Childs
Cory Band
Conductor: Dr Robert Childs
Doyen Recordings: CD262
Total Playing Time: 67.40

It is hard to think of any brass musician, let along one who regularly plays in a brass band, who so approaches this level of near perfection in his performances.

Commanding

'Moto Perpetuo' is a recording of such virtuosity that you are left wondering if there is anything written, or to be written for that matter for the euphonium, that David Childs could not play – and play with such commanding authority.

However, the flawless technique does not give rise to a cold soul in his musicality – far from it: A warm-hearted expression intuitively permeates the playing. 

The youthful, precocious tyro has grown into a mature soloist, with a mature musical appreciation of his own abilities.

The pyrotechnics are now selected for their quality, not just their quantity – the title track in particular, an exercise that could be fizzed with mechanical facile brilliance, is in fact gloriously underpinned with subtle stylistic nuance.

Liquid engineering

To borrow a well known phrase – it is liquid engineering; the liquid though is viscous 24 carat gold.

There is so much to delight in the lyrical playing too – tasteful restraint and sensitivity rather than maudlin lachrymose sentimentality. Each track is crafted rather than manufactured – shaped and detailed with an eye to more than the mere aesthetic.

Chilling sadness

Howarth’s simple arrangement of ‘Jeanie with the Light Brown Hair’ is therefore delivered with respect to it’s musical heritage; the trio of reflective Karl Jenkins works slowly unfold with satisfying understatement; Howard Snell’s emotive ‘Oration’, by Howard Snell, recalls an unimaginable horror with poignant, almost chilling sadness.

In contrast, the personal enjoyment in showcasing the Jenkins ‘Euphonium Concerto’ is obvious – a display of infectious vibrancy, wit and charm (although it’s a pity we don’t hear it with orchestral accompaniment, which allows the soloist even greater freedom of expression), whilst the Meechan, Cosma and Mantia interludes are played with gleaming pizzazz. 

All through Cory accompany with sympathetic precision; dynamically varied and balanced to the solo voice, whilst Richard Scott’s engineering skills once more bring clarity to the recording acoustic.

Awards

Add informative sleeve notes and the sense that an extra bit of care and attention has been paid from start to finish on this release, and you can see why it has picked up a hatful of CD Awards – including the 2010 4BR Solo CD of the Year.

And just in case you think he has left his sensational technical wizardry behind him, ‘The Hot Canary’ will leave you with smile of bewildered incomprehension across your face.

There is simply nothing he cannot play.

Iwan Fox

Contents

1. Moto Perpetuo, Niccolo Paganini arr. Howard Snell, 2.03
2. Lament from 'Stabat Mater, Karl Jenkins arr. Robert Childs and Andrew Wainwright, 3.50
3-6.Euphonium Concerto, Karl Jenkins�����
I. The Juggler, 5.47
II. Romanza, 5.38
III. 'It Takes Two...', 5.53
IV. A Troika? Tidy!, 5.31
7. Oration, Howard Snell, 4.36
8. Sparta, Peter Meechan, 6.41
9. Benedictus from 'The Armed Man: A Mass for Peace', 5.17
10. Finale Giocoso, Vladimir Cosma arr. John Meredith, 5.54
11. Hymn from 'Adiemus: Songs of Sanctuary, Karl Jenkins arr. Tony Small, 3.06
12. Auld Lang Syne, Simone Mantia arr. Keith Wilkinson, 6.40
13. Jeanie with the Light Brown Hair, Stephen Foster arr. Elgar Howarth, 2.52
14. The Hot Canary, Paul Nero arr. Simon Wood, 2.49