Billed in the pre-event publicity as ‘David Childs and Friends’, in the event the recital consisted of just David and pianist Christopher Williams.

However, the epithet ‘friend’ could not have been more apposite.  

Rather than a solo recital, this was a real partnership between two fine artistes; each complimenting one another in performances of considerable musical artistry.

Irish charm

With a recently released, critically acclaimed recording to promote, it would not have been surprising to see elements included in the programme, but David commenced with ‘Caoine’, a transcription of one of the movements from a clarinet sonata by Stanford.  

With its wide range and extended phrases it proved an excellent opener which was played with such aplomb - and from memory (as he did throughout).

Wilby showcase

‘Sarajevo Song’ and ‘Greek Dance’ are the middle movements of the concerto that Philip Wilby wrote for David’s father during his spell with Black Dyke. 

Robert and several family members were present to hear this superb performance.  After the sustained playing and wide dynamic range of the first movement, the duo brought out the barbaric nature of the dance, with its huge leaps carried out with apparent ease and utmost security.

Lyrical Horowitz

The ‘Lento’ from the Horowitz 'Concerto', penned for Trevor Groom, was played with an almost haunting quality to the melody - which David described as possibly the most beautiful written for euphonium.  

With the decorative quaver figures given plenty of space to breathe, it was a joy - right to the last fading note.

Demanding piano 

The piano accompaniment to Karl Jenkin’s 'Concerto' is quite a challenge for any player as they attempt to replicate the various elements of the original, but here it was played with remarkable facility.

‘It Takes Two’, with its tango influences, and the intricate, ‘A Troika Tidy’ gave both euphonium and piano plenty to do - with the players delivering with verve and brio.  

Classical transcriptions

The second half was rather more traditional; with several items transcribed from the classics.  ‘Zigeunerweisen’ (violin), ‘Due Tramonte’ (cello) and ‘Fantasy’ (viola) all sounded as if they had always been intended for euphonium, despite their demands of extreme range and technique.

Two into one 

One which was custom-made though was ‘Brillante’ - although David confessed he always feared slipping into the original duet version rather than the solo adaptation.  

He managed to remain on track of course, with the required fireworks framing the smooth playing of ‘Men of Harlech’ in the central section.

The beautiful ‘Macoushla’ suffered a little due to the traffic and construction going on outside, which seemed most intrusive in the quiet passages, whilst the finale of ‘Endearing Young Charms’ was a wonderful display of musical generosity as the performers showcased their talents to the full; the inventive piano links the equal of the euphonium pyrotechnics.

The sparkling ‘Carnival of Venice’ brought an outstanding recital to a stunning end.

Peter Bale