David Thornton’s artistic reputation has long been secured, but his desire to keep testing his talents by exploring new, enticing musical pathways ensures that he has never been satisfied to merely rest on his deserved laurels.

His ethos is simple - and quite catchy it must be said too: 'Framing the euphonium in new musical environments'.

Research

And he is certainly doing a wonderful job of it as this was shown by this showcase recital (attended by around 300 people) that formed part of the ongoing research he is undertaking for his Doctorate at Salford University.

For around seventy minutes in Peel Hall, we were treated to a true masterclass - not just in the art of performance, but also of presentation; the challenging nature of the musical content played superbly, explained with deftness, humour and transparency, aided by wonderful accompaniment by Ruth Webb. 

Frenzied feel

Alexander Comitas's 'Devil's Dance' is inspired by the Norwegian Folk melody, 'Fanitullen' and this version for euphonium and piano was receiving its world première. The frenzied feel of maleficent gambol was delivered with a delicious sense of dark edginess.

In contrast, Dr Peter Meechan's '...A Night Devoid of Stars' was originally written as a collection of three short, reflective pieces for unaccompanied euphonium, each inspired by the writings of Dr Martin Luther King.  

With the soloist at the back of the hall (and the composer in attendance), the lyrical euphonium voice soared over the accompanying words of the great civil rights leader (visual images would be an interesting added dimension for sure), giving a deep sense of poignancy to a work of immense resonance.

Blue Rider

It was Dr Meechan who introduced David to composer Kit Turnbull, whose 'Blue Rider' takes inspiration from the paintings of the group of artists such as Wassily Kandinsky and Franz Marc in the early part of the 20th century. 

Here, both soloist and fellow collaborative artist, Ruth Webb drew the audience in the palm of their hands with a concerto of beguiling shape and form - the outer sections sharply framing a beautifully laconic middle movement.

Murmuration

So too with Lucy Pankhurst's 'Susurration' for euphonium and live electronics, which takes its inspiration from the murmuration of starlings that fly around Runcorn Bridge, close to the composer's home. 

Once again, Thornton's agility, linked to deliberately distorted electronic effects captured the mesmerizing patterns and noises the birds create in flight. 
 
Funk finish

There was also something completely outside of the box so to speak to close - and what a delight.

D Edward Davis' 'Let There be Funk' for amplified euphonium, octave pedal and digital playback', complete with percussion rhythm and vocal effects certainly delivered an engrossing musical experience - one that summed up the whole recital. 

With David taking time to obligingly answer questions and talk at length with eager students and admirers, it was a masterclass in every sense of the word.

Malcolm Wood