The Euphonium & Baritone Homepage 2008

Euphonium Recitals at
St. Mary's Parish Church
with Malcolm Stowell, Piano & Organ.



July 2nd.

Next Recital !

Saturday, August 2nd.
Euphonium Recital no.31, St. Mary's Slough, 12 noon, admission free
With guest Robin Langdon, Euphonium, Southampton University

Programme of Music;
Premiere; Intrada, Sicilienne & Minuet, David Thorne (with organ accompaniment)

Adagio, J.S. Bach, from the clarinet transcription by V. Gensler

Softly, As I Leave You, Alfred De Vita arranged by Alan Catherall
duet with guest Robin Langdon

The Queen of The Night’s Aria (Der Holle Rache), W.A. Mozart arranged by John Golland, played on a 1912 Hawkes 4v Cavalry Tuba

Premiere; Masquerade, Lorenzo Melissano (Italy)





On November 3rd.2004, I signed a contract with Willi Kurath, Director of Willson Band Instruments in Flums, Switzerland,
to promote their Euphoniums, and as a result, I now have a brand new top-of-the-range 2900 model to perform on!
In addition, Joe Miserendino from the U.S.A. composed "A Willson Concertante" to celebrate the new partnership.
It is in 3 movements, Con Bravura, Nocturne & Con Brio.
The composer writes; “I wanted to write a piece that would show the range, versatility, power and beauty possible with the Euphonium
– a still very much under-appreciated instrument.”

The Euphonium & Piano version was premiered in February 2004 by Charley, with Malcolm Stowell, piano,
at St. Mary’s Parish Church, Slough, Berkshire, UK.

The Wind Band version was premiered in May 2005, in the presence of the composer, with the
City of London Symphonic Winds, conducted by John Andrews at St. Paul’s Church, Covent Garden, London.

The premiere of the orchestral version was given on December 9th. at the Turner Simms Concert Hall in Southampton,
with the Southampton University Sinfonietta, conducted by Andrew Morley.
The concert was a huge success and was an important highlight for the instrument and it’s repertoire.

Joe Miserendino wrote, ” First I am honoured that you scheduled my work in one of your programs. Secondly - Charley let me know that it was an excellent performance so I thank you and all the talented members of the orchestra.
Any composer is happy to have a work performed, and when it is done so well it is sheer delight. I am so sorry I could not be there to share in the moment with all of you and Charley and to give each of you my personal thanks.
As you may know, Charley and I have been friends for years. I can attribute almost all of my success to that talented musician. Charley is not only a fine musician but also a steadfast, gracious, unselfish friend and I'm lucky he "found" me.
Again - thanks to you all. Maybe someday I will write another piece that will be worthy of another performance.”

Photographs here.
Listen to the orchestral premier here
Listen to the winds premier here
Listen to the piano premier here



Previous euphonium recital programmes & reviews, scroll down or choose a number below;





Recital Facts & Figures

Since May, 2001

30 recitals given, playing 161 pieces of music,
by 114 different composers,
from 15 different countries,
with 143 on piano, 18 on organ
featuring 11 duets, and 64 premiers,
on 18 different euphonium models,
to a total audience of 1,454 people.




Recital no. 30, May 17th. 2008.
Programme of Music;
Willson 2900 unless stated

Allegro (mov. 1) from Concerto for Bassoon, Franz Danzi (1763-1826)
Listen to Allegro

Premiere (this version) Twilight Shadows, Steven Barton (USA)
duet with guest Matthew Ingram, Euphonium
Listen to Twilight Shadows

Vortragsstuck in G minor, op.63 no.15, Carl Baerman (1811-1885)
Played on an SA Bandmaster 4v Euphonium, circa 1933
Listen to Vortraggstuck

Prelude No.2, George Gershwin, (from the clarinet version by Justin Wildridge)
played on a 1912 Hawkes Emperor 4v Cavalry Tuba
Listen to Prelude no.2

Valse Brilliante; Silver Showers, William Rimmer (1862-1936)
Played on a Boosey & Hawkes Imperial 4v Euphonium, circa 1980
Listen to Silver Showers

"Beautifully done! Please pass along my appreciation to Matt and the accompanist.
It's always nice when the performers make more of the piece than the composer imagined. Well Done!"
Steven Barton, composer, USA.




Recital no. 29, February 23rd. 2008.
Programme of Music;
Willson 2900 unless stated

Contest Piece, Andre Gedalge (1856-1926)
Listen to Contest Piece

Premiere (this version), Romance, Gunther Johannes Schmidt (originally for Flute)
Listen to Romanze
"Thank you, Chas, you played it so wonderful and so emotional I love it! Thank you again. And thank you for the recording!
Günther Johannes-Schmidtz, composer, Germany

Chanson Triste, Tchaikowsky (1840-1893)
Played on a Hawkes Empire 4v 1912 Cavalry Tuba
Listen to Chanson Triste

Aragonaise, La Mantilla, Dennis Wright (1895-1967) (for Gracie Cole, Trumpet)
Played on a Courtois 1900 4v Euphonium
Listen to La Mantilla

Premiere (this version) Mantle of Blue, Frank Bridge (1879-1941)
Played on a Salvation Army Bandmaster 4v Euphonium
Listen to Mantle of Blue

Variations on The Mountains of Mourne, Roy Newsome
Listen to Mountains of Mourne




Recital no. 28, November 3rd. 2007.
Programme of Music;
Willson 2900 unless stated

Premiere; Cloud Nine, Darrol Barry
Listen to Cloud Nine

Contemplation, Denzil Stephens
Listen to Contemplation

Premiere; Aragonaise, Joe Miserendino
Aragonaise

Premiere; Fly Me To The Moon, Bart Howard arranged by Terry Treherne
duet with guest, Alan Mann, Tenor Horn
Listen to Fly Me To The Moon
Played on an Imperial Euphonium circa 1982

Concertante, Gustav Holst, with organ accompaniment
(Originally for trombone & organ, 1894)
Listen to Concertante
Played on a Willson 2900 Euphonium circa 1992

"Thanks, extememly enjoyable performance, something else will be following shortly!"
Darrol Barry, composer, Oman.

"Many thanks for the chance to hear you playing Contemplation.
It surprises me everytime how other musicians can find something different in one's compositions. Please give my thanks to your accompanist." Denzil Stephens, composer.

"Even though I wrote it, I didn't realize its true charm until the dynamic duo of Brighton & Stowell had some fun with it. Thanks a bunch."
Joe Miserendino composer, USA

"As always, some great playing. Alan has a lovely sound and does justice to this little duet.
Full marks to Malcolm too for a delicate piano accompaniment. I am once again extremely grateful to you for featuring my music as your performances always sounds - just as I imagined".
Terry Treherne arranger.



Recital no. 27, August 4th. 2007.
Programme of Music;
(Willson 2900 unless stated)

Muckentanz, C. Bayrhoffer (originally for violin)
Listen to Muckentanz

UK Premier Little Suite for Unaccompanied Euphonium, Elaine Fine (USA)
Preludio, Reverie & Puppet Dance
Listen to Little Suite
"I really, really enjoyed your classy performance. It is exactly the way I hopefully imagined the piece would sound,
however, your sound in the upper register in the 2nd. movement is really more beautiful than anything I could have imagined.
Thank you so much.
Elaine Fine, composer, USA

Lullaby, Carlo Menotti (originally for voice)
played on Highams 5v 1891 euphonium
Listen to Lullaby

Recitative & Prayer, Hector Berlioz
from Grand Symphony for Band (originally for trombone) with organ accompaniment
played on a Highams 4v 1914 euphonium
Listen to Recitative & Prayer

Cradle Song, Mozart (originally for violin)
played on a Hawkes 4v Cavalry tuba 1912
Listen to Cradle Song

Theme & Variations on Arabella, Barrie Chester
Listen to Arabella




Recital no. 26, May 5th. 2007.
Programme of Music;
(played on the Willson 2900 Euphonium except where stated)

Two Spanish Dances; Danza Movida & Danza Allegre, Moritz Moszkowski (1854-1925) arranged by Paul Archibald
Played on a 1905 Besson 3 valve Enharmonic Euphonium
Listen to Two Spanish Dances

Suite; Song & Dance, Gilbert Vinter (1909-1969) (originally for clarinet)
Listen to Song & Dance

Premiere (of this arrangement); Duet, Simplicity, Terry Treherne
With guest Alan Mann, Tenor Horn
Listen to Simplicity

Fantasia on Weber’s Last Waltz, William Rimmer (1861-1936)
Listen to Weber's Last Waltz

Premiere; (of this version for unaccompanied tuba)Tarantella op.59, Joachim Andersen (1847-1909)
Played on a Hawkes 1912 Cavalry Tuba




Recital no. 25, February 17th. 2006.
Programme of Music;
(played on the Willson 2900 Euphonium except where stated)

The Riders of Rohan, Rodney Newton
Listen to Riders of Rohan

Premiere; Diversions, Edward D. Messerschmidt (USA)
Listen to Diversions

Premiere; Theme & Variations, Michael Iles
Listen to Theme & Variations

Solitaire, Malcolm Arnold
Played on a Highams 1914 4v Euphonium
Listen to Solitaire

Premiere; The Impossible Dream, Mitch Leigh arranged by Terry Treherne
Listen to Impossible Dream

"Wow! Your performance sounds great. It was a thrill to hear it. I like the alternate ending as well.
Keep in touch, and I'll let you know if/when I write some more music for the euphonium."
Edward D. Messerschmidt, composer, USA

"Many thanks for playing my music, it sounds great.
It is a pleasure to hear it actually played on an instrument as against Sibelius."
Michael Iles composer, UK

"Many thanks for featuring Impossible Dream in your recital. I had almost forgotten how challenging this piece can be, but obviously in the capable hands of you both, it sounds comparitively easy.
Although the piano score does lack the contrasting sounds of the wind band version,
I must congratulate you and Malcolm for bringing the music to life.
Terry Treherne, arranger, UK




Recital no. 24, December 9th. 2006.
Programme of Music;
(played on the Willson 2900 Euphonium except where stated)
Premiere; Pistons, Introduction & Scherzo for Euphonium, Andy Myers

Sonata K.303, (1st. movement) W.A. Mozart arranged for Euphonium by Hatsuho Kawayama
Listen to Sonata

Premiere; Rondo Divertimento, Joe Miserendino, USA
Listen to Rondo

Mot d'Amour, Op.13 no.1, Edward Elgar transcribed by Eric Willson
played on a Salvation Army Bandmaster 4v non compensating Euphonium, circa 1933
Listen to Mot d'amour

Springtime, Reginald Heath
played on a Highams 4v non compensating Euphonium, circa 1914
Listen to Springtime

I enjoyed every minute of your performance of the Sonata. So tastefully done. I am sure Mozart would be delighted if he could hear it.
I also enjoyed the other pieces you played at the concert, it seems to be a very smart combination of different styles of music.
Congratulations on 40 yeare of euphonium playing, I feel honoured that you chose my arrangement for such a special occasion.
I wish I had been able to attend.
Hatsuho, arranger, Chile

Thanks to Malcolm and Charley for another fine performance of my work - and for capturing just the right esence of a "divertimento".
Joe Miserendino composer, USA



Recital no. 23, August 19th. 2006.
Programme of music;
(played on the Willson 2900 Euphonium except where stated)
Premiere; Agitato, mov.3 of Concerto for Euphonium, Kenneth D. Friedrich
Listen to Agitato

Cavatina (from 4 Romantic Pieces), Antonin Dvorak arranged by Hatsuho M. Kuwayama (originally for Flute)
Played on a Highams 5 valve euphonium, circa 1891.
Listen to Cavatina

Canzonetta op.6, Alfredo d' Ambrosio (1871-1914) arranged by Larry Teal (originally for Alto Sax)
Played on a Boosey & Co. Solbron 3 valve euphonium, circa 1920.
Listen to Canzonetta

Premiere; London Nightscape, Joe Miserendino, commissioned by Major Mark B. Hill, USAF Langley, Virginia
Listen to London Nightscape

Sunrise, Sunset (from Fiddler on the Roof), Jerry Bock arranged by Adam Gorb (originally for Flute)
Listen to Sunrise, Sunset

Rhapsody for Euphonium, James Curnow, with organ accompaniment.
Listen to Rhapsody for Euphonium

"You can rest now. This has been a fun series to listen to. I know the piano lines were very difficult.
And those notes only mice can hear were fun too. Looking forward to the wind performance. Thank you."
Kenneth D. Friedrich, composer, USA

"Thank you for including my arrangement in your concert, I was thrilled to hear it. I feel that it was one of the nicest gifts
somebody could give to me. Please send my regards to the pianist, too.
Hatsuho Kuwayama, arranger, Santiago, Chile

"Thanks to Mark for his faith in me-and of course to Charley & Malcolm for a wonderful performance.
We composers are really fortunate in these two."
Joe Miserendino, composer, USA

"Exceptional. Charley & Malcolm are to be praised for this premier of Joe Miserendino's work. Id love to hear him expand this for wind ensemble with a couple more vinettes added to this tone poem. This work evokes memories of travelling into London from time to time. Thanks for the hard work on it, and congratulations to the composer."
Major Mark Hill, USAF, Virginia




Recital no. 22, May 6th. 2006.
Programme of music;
(played on the Willson 2900 Euphonium except where stated)
Preludio, Aria e Scherzo, Ennio Porrino (originally for trumpet)
Played on a Highams 4 valve euphonium, circa 1914
Listen to the live recording.

Premiere; Lament, movement 2 of Concerto for Euphonium, Kenneth D. Friedrich (U.S.A.)
Listen to the live recording.

Valse, Francis Poulenc, adapted from the piano work by Charley Brighton.
Played on a Hawkes & Son Dictor 4 valve euphonium, circa 1918.
Listen to the live recording.

Premiere; 2 Variations on the Londonderry Air, for unacompanied Euphonium, Tony Osborne (Slough, Berkshire)
Played on a Boosey & Co. Solbron 3 valve euphonium, circa 1920.
Listen to the live recording.

Premiere; Concertante for Euphonium, Terry Treherne.
Listen to the live recording.

"Great Job! A reflective mood engendered by both players. I liked the transition from A to B sections.
Did'nt realize the tessitura of the solo was so high. Kind of takes me by surprise. A very difficult slow movement well performed. Thanks".
Kenneth D. Friedrich, composer, USA.

"Thanks again for playing the 2 variations, and a very enjoyable concert"
Tony Osborne, composer.

"I must thank both you and Malcolm for a splendid performance of "Concertante". To hear this music played so wonderfully well is indeed a memorable experience, and with the added bonus of hearing it again and again thanks to your excellent recording facility this is just marvellous. Not being a pianist myself I do apologise for giving Malcolm an impossible task at times, but by what I hear he has made some fine adjustment for which I am grateful.
You are very fortunate to have such a good accompanist for there are plenty of pianist but good accompanist are rare.
Terry Treherne, composer.




Recital no. 21, February 11th. 2006.
Pogramme of Music;
played on a Willson 2900 Euphonium, 2004
Premiere; Concerto for Euphonium, Kenneth D. Friedrich
movement 1, Leggiero
Listen to the live recording.

Serenade, Op.3 no.5, Rachmaninov
from the clarinet transcription by Zoltan Kocsis
Listen to the live recording.

Dancing Night Wind, David Benning
for unaccompanied solo instrument
Listen to the live recording.

Improvisation, (to Edith Piaf), Francis Poulenc
played on a French Besson 3 valve Euphonium, circa 1915
Listen to the live recording.

Rondo Giocosso, Carl Maria Von Weber arranged by Edrich Siebert
(Finale from the Bassoon Concerto in F)
played on a Courtois 4 valve Euphonium, circa 1900
Listen to the live recording.

"Charley and Malcolm went above and beyond my realistic expectations for a mere three months of preparation.
This is truly not an easy movement, yet they move through it like a hot knife through butter. The technical prowess with which Charley attacks the most difficult passages here doesn't cease amazing me.
And of course the sound through that Willson continues to get more and more candy for the ears. Well done."
Kenneth D. Friedrich, composer, USA.

"Your arrangement of Dancing Night Wind was everything that I had imagined....and then some!
That was some very rapid tonguing! I am very happy with the result, thank you for thinking of this piece and treating it to a wonderful recital."
David Benning, composer, USA.




Recital no. 20, November 19th. 2005.
Programme of Music;
(Played on a Willson 2900 Euphonium except where stated)
Photographs here

Clarinet Variations on Long, Long Ago
arranged by Reinhold Ritter, op.12
Listen to the live recording.

Adagietto, from Symphony no.5, Gustav Mahler
with organ accompaniment
Listen to the live recording.

The Clockmaker, Michael J.D. Roberts
(originally for Violin)
Listen to the live recording.

Variations on America, Charles Ives
with organ accompaniment
Listen to the live recording.

The 2nd. half programme included the premiere of The Brook, The Bear & The Bird by Joe Miserendino,
a trio written for Euphonium, Alto Saxophone and Piano.
with guest Peter Bale, alto Saxophone.
Listen to the live recording.

"Thanks ever so much Charley! I really like the recording; the quality, both of the sound and the playing, is absolutely excellent!
It's very different with the euphonium but every bit as good as how it originally was.
If you don't mind I'd like to put an mp3 of this up on my Sibelius webpage.
Michael J.D. Roberts, composer.

"I Want to thank you, Malcolm and of course Peter for the fine performance. Really flattered that Peter wants a return engagement with the piece. Quite frankly I was quite surprised at the tempo - while I know the "mechanical" tempo I generated on the computer was not too practical, I think I might prefer a small pick up in the tempo.
But it was played beautifully as usual and I am very happy with the result and the apparent reception.
As you can tell from my reviews I think you did superb work on the Adagietto and the Clockmaker piece. The Clockmaker is another example of your special "ear/eye" for music that works on your instrument. I know many people are surprised at the thought of violin (clarinet, etc.) music being adapted for low brass, and even more surprised at how well you perform the pieces.
Good show !"
Joe Miserendino, composer, U.S.A.


Reviewed by

An audience of more than 50 people braved the crisp November weather to attend the latest euphonium recital given by Charley Brighton at his church in Slough, the 20th since the series began.

On display at the front of the church were four from his collection of period instruments, although on this occasion the whole recital was played on his 2900 Model Willson euphonium. The programme consisted entirely of adaptations of music originally intended for other instruments, most of which we receiving premiere performances in their new guise. Several pieces written for the clarinet have been adapted by euphonium players in recent days, the most well-known probably being Rossini's "Theme and Variations".

Rheinhold Ritter's "Variations on ‘Long, Long Ago'" dates from the 19th Century and shares many of the characteristics of that work, exploiting the full range available, right from the opening cadenza. It calls for considerable agility on the part of the soloist, whilst the smooth flowing melody in the centre section also offered the opportunity for some well-controlled, sustained playing.

Good breath control was also called for in the second item, an arrangement of the "Adagietto from Mahler's 5th Symphony", made popular by its use in the film "Death in Venice" and also at the funeral of President J. F. Kennedy. Malcolm Stowell accompanied Charley on the church's fine organ, in an adaptation of the organ transcription by Hans-Martin Schwindt. Opening with a selection of mellow stops, matching to a tee the euphonium's sound at the start, the performance seemed hampered a little by the lack of a clear, rhythmic pulse in the more sustained sections. As the emotional temperature rose, so the higher-pitched stops were added and the music grew in intensity, but with the euphonium still being allowed to be the dominant voice.

Michael J. D. Roberts is a 19 year old law student from Portsmouth, who wrote "The Clockmaker" for violin – Charley remarked that he hoped he wouldn't be sued for making an inappropriate arrangement! The composer described a lonely clockmaker, working away with the constant ticking in the background, which gradually drives him round the bend, and this was portrayed in the music, with the piano setting out a persistent 6/8 pulse under the euphonium melody. From a fairly sedate opening, with repeated melodic phrases in the top register, the solo line became more frenetic, with note-lengths getting shorter and the page getting blacker through to the frantic running scales of the final couple of bars.

For the final item in the first half of the recital, Malcolm returned to the organ for an adaptation of Charles Ives' "Variations on America". Originally written for organ, but since orchestrated by William Schuman and arranged for orchestral brass by Eric Crees. The melody, variously attributed to England, Scotland and France, is of course better known in England as "God save the Queen" (or "King"!) and it must have created quite a stir when Charles Ives himself first performed it during a church service in 1892, with its unusual transformations of the melody, including the use of inversion and polytonality. This quirky piece translated well to the combination of euphonium and organ, with the organ alone playing two interludes and the euphonium taking over the pedal part in the appropriate variation.

For the concluding two items, they were joined by Peter Bale on saxophone, the first time a saxophone had appeared in the series of recitals. Modest Mussorgsky's "Pictures at an Exhibition" was written for piano but has been orchestrated many times, the most familiar version being that by the French composer Maurice Ravel. For the movement entitled "The Old Castle" he chose the alto saxophone for the haunting melody, and this had in turn been arranged by Larry Teal for saxophone and piano.

The final piece was a trio by the American composer Joe Miserendino who has written several works for Charley. Entitled "The Brook, the Bear and the Bird" it was intended for flute (or clarinet), bassoon and harp, but was adapted on this occasion for piano (the Brook), euphonium (the Bear) and saxophone (the Bird). With the piano setting the scene and depicting the brook meandering along, the two wind soloists in turn made their contribution, the melodic material appearing in first one part then the other as the piece developed, including some rather pungent harmonies as the bear was depicted harrumphing beneath the plaintive call of the bird. Despite an early entry from the bird at one point, the premier seemed to be well received by the audience.

Since the series of euphonium recitals began in May 2001 there have been more than 40 premieres of new compositions or arrangements, and over the years a regular audience has been built up. It is certainly always worth dropping in if you're in the vicinity of Slough, and forthcoming recitals - admission free - are usually announced on www.4barsrest.com as well as on Charley's own website at http://www.euph9.freeserve.co.uk/Stmarys.htm .




Recital no. 19, August 6th. 2005.
Programme of Music;
(Played on a Willson 2900 Euphonium except where stated)

Suite in F Major
William Lloyd Webber
(4 movements, originally for trumpet, 1952)
Played on a Highams 4 valve euphonium, circa 1914.

Cradle Song Op16 No.1
Tchaikovsky arranged by Ivan Nagy
Listen to the live recording.

Sonata for Euphonium
James Mackie Premiere;
(3 movements written for me in September 2004)

Morning Song
Howard Felton (originally for trombone)
Played on a Courtois 4 valve euphonium, circa 1900.
Listen to the live recording.

Ichabod
Tchaikovsky arranged by Harold T. Brash
(with organ accompaniment)
Listen to the live recording.

"Wow, it seems like ages ago I wrote that piece (I was 17 I think). Never imagined it being played in a concert.
I like what you did with it. I always played it quicker with a fairly regular pulse, but slower gives it a much more meditative feel. Nice!
Thanks for playing my piece"
Howard Felton composer.

"This Cradle Song for euphonium & piano is a marvelous transcription and is beautifully played. It demonstrates the liquidity of the instrument from possibly the playable highest to lowest notes. Many thanks, and indeed, well done!
I surely am-and I'm confident Tchaikovsky also would be very pleased.
Ivan Nagy (arranger of the original transcription) U.S.A.




Recital no. 18, May 14th. 2005.
with guest Louise Wright (Euphonium) from the Solent Concert Band, Portsmouth.

Programme of Music;
Dance with Europe, Seth Jervis, U.S.A. Premiere
Finale, movement 5, Poland, Polonaise.
Listen to the live recording.

Rondo from The Bassoon Concerto op.96, Mozart
played on a Hawkes Dictor 4 valve euphonium, circa 1920.
Listen to the Live recording

Soliloquy, Philip Sparke, played by guest Louise Wright.

Our 100th. recital piece!
Recollections, Terry Treherne Premiere (organ version)
played on a Highams 5 valve euphonium, circa 1891.

The Kiss of Light, Premiere
"To my friend, Charley Brighton", Yvonne Anthony, Australia.
Listen to the Live recording.

"Completing the suite, this is an amazing piece of work. I really enjoy the libertires and expression you have decided on. Congratulations to both Charley & Malcolm. The Polonaise is very exciting with the rhythmic piano driving the euphonium line. Very well done!
Seth Jervis, composer. (U.S.A.)

"What a good one! Well done and thank you and Malcolm very much. I'd like to think it may generate some interest for both of us, the applause seemed most enthusiastic.
The instrument seemed particularly well suited to the range of the music with a truly wonderful lower register."
Yvonne Anthony, composer. (Australia)



Recital no.17, February 5th. 2005.

(Played on a Willson 2900 Euphonium, December 2004 model.)

A Willson Concertante, Joe Miserendino (U.S.A.) Premiere
Con Bravura
Notturno Adagio
Vivace Con Brio

E flat Tenor Horn solo
Masquerade, Philip Sparke
played by Benjamin Tubb

Romance for Euphonium, Benjamin Tubb Premiere
Listen to Romance

This My Father's World
Franklin L. Sheppard arranged by Doug Houck
played on an Olds 2 valve Marching Baritone with organ accompaniment.

"I'm just another of the many composers thankful for fine performances by Charley and Malcolm. While all 3 movements were done beautifully the Adagio is my special favorite, the accelerando before the transition to the second theme and the pedal note - wow. But over all, loved it. Thanks again to you and Malcolm for a great performance."
Joe Miserendino, composer (U.S.A.)

"An A+ performance! Lilting, the way the euphonium meanders through the melodic lines. Thank you, Charley and Malcolm."
Kenneth D. Friedrich, composer (U.S.A.)

Reviewed by Peter Bale for

For the latest in his regular Saturday lunchtime recitals, Charley Brighton was joined by Benjamin Tubb, one of his pupils and currently Solo Horn with the Yiewsley and West Drayton Band.

The recital opened with Joe Miserendino's "A Willson Concertante", written to mark Charley's contract with the Swiss manufacturers to promote their instruments as reported on 4barsrest last year. Played on his new Willson 2900 euphonium, it is a suite consisting of three contrasting movements: the opening "Con Bravura", with a serenade/tango feel to it, starts with the euphonium unaccompanied, with much exposed work at the top of the range.
As the movement goes on, the whole range is exploited, with some abrupt moves from the pedal register back above the stave.
The "Notturno Adagio" was described by Charley as a "lonely nocturne", and again explores extreme registers, the sustained euphonium line set effectively against a repetitive pattern in the piano.
The third movement, "Vivace con brio", calls for considerable agility, with the pianist as busy as the soloist at times, and incorporates a testing cadenza. Charley explained that he thought the work was Joe's best so far and it was certainly well received by an appreciative audience.

Ben had chosen to perform Philip Sparke's "Masquerade" and impressed everyone from the outset by his clear, pure tone, particularly in the upper register. Despite suffering from the effects of a cold, he demonstrated a smooth approach across the whole range of the instrument, occasionally adjusting his intonation in the lower register, but very fluent in the faster sections.
When faced with water retained in the valves he cleared it efficiently, and managed to negotiate the flurries of notes without losing the rhythmic pulse. It was a fine debut performance, and as Charley said, "the occasional slip can be pardoned when the overall performance and sound is as good as this".

In addition to his talent as a player, Ben is also a budding composer, with a number of works in his portfolio. His "Romance for Euphonium" has some nice touches, both melodically and harmonically: the theme, presented initially by the euphonium, is later developed and ornamented, with a central cadenza, after which the accompaniment has a quasi-Jewish feel to it. Although apparently an abandoned composition that Ben had returned to later, the end result was not at all disjointed, and was beautifully played by Charley and his accompanist, Malcolm Stowell.

At his previous solo recital, Charley had presented two newly acquired instruments that he had added to his collection, one of which was a 2 valve marching baritone in G, made by F E Olds of the USA. With its bell pointing forward, and with all the weight falling on the right hand, Charley explained that it had taken some getting used to. The two valves, one piston and one rotary, function as the normal valves 1 & 2, but this means that certain notes are not obtainable, calling for a little trial and error in selecting suitable pieces and keys for performance.

For its recital premiere performance, Charley had chosen an arrangement by Canadian Doug Houck of the hymn "This is my Father's World", accompanied by Malcolm on the church's fine organ. The mellow sound of the baritone worked very well with the organ registrations selected, and it made for a very satisfying conclusion to the programme.

Charley's recitals form part of an ongoing series of free concerts on Saturday afternoons: if anyone is in the Slough area they are always well worth attending, usually incorporating new and original compositions and arrangements, presented in an intimate setting and with the chance to share a cup of tea with the performers afterwards.



Recital no.16, December 4th. 2004.

Sonata no.1 Op.5, Keven Gardiner (U.S.A.) Premiere
Played on a Highams 5 valve euphonium, circa 1891.

Ground Brass, Pete Peters (U.K.)
Played on a Courtois 4 valve euphonium, circa 1900.
Listen to this solo

Air no. 12, Kenneth D. Friedrich (U.S.A.) Premiere
Played on a Willson 2900 euphonium, circa 1992.
Listen to this solo

Dance with Europe, movement 4, Romanian Dance, Seth Jervis (U.S.A.) Premiere
Played on a Willson 2900 euphonium, circa 1992.
Listen to this solo

Nocturne, Robert Di Marino (Italy) Premiere
Played on a Willson 2900 euphonium, circa 1992.
Listen to this solo

Variations on Gentle Annie, Stephen Foster arranged by Roger Thorne (U.K.) Premiere
Played on a Highams 4 valve euphonium, circa 1914.
Listen to this solo

"Beautiful playing as usual. The B section was as I imagined...a more emotional and colourful part of the piece.
Thank you again for performing my music."
Kenneth D. Friedrich, composer. (U.S.A.)

"Congratulations! The beauty of your sound easily matches that of the Cello. Just a personal opinion, as the guitar sounds an octave lower, the piano part could be played an octave lower and the bass in the left hand could be doubled to balance the sound of the euphonium.
I am very happy you performed the piece."
Robert Di Marino, composer. (Italy)

"The organ & euphonium treatment is marvelous. I am a low brass player and I can appreciate what you have done with the piece. It certainly is the best performance anyone has done to date and has given me motivation to post more of my music on line."
Kevin Gardiner, composer. (U.S.A.)

"Awesome Charley! You guys did a great job with that. I've questioned that movement but my fear was unfounded...it's a nice change of pace in the song cycle, thanks."
Seth Jervis, composer. (U.S.A.)



Recital no.15, May 8th. 2004.

Journey to the Centre, Yvonne Anthony (Australia) Premiere
Played on a Besson Enharmonic 4 valve euphonium, circa 1918.
Listen to this solo

Ballade, Kenneth D. Friedrich (U.S.A.) Premiere
Played on a Willson 2900 euphonium, circa 1992.
Listen to this solo.

Song of a Nostalgic Night, (with organ) Joe Miserendino (U.S.A.) Premiere
(originally for Cello & Strings, transcribed for this recital by the composer).
Played on a Courtois 4 valve euphonium, circa 1900.
Listen to this solo.

Duet; A Few Licks for Felix, Yvonne Anthony (Australia) Premiere
for 2 euphoniums, variations based on 'Felix Kept on Walking' by H. David.
with guest Alex Seedhouse



Elegy, (originally for Flute) Stuart Hyson Premiere
Played on a Highams 5 valve euphonium, circa 1891.
Listen to this Solo.

Cantabile & Scherzando op.51, Henri Busser.
Played on a Hawkes Dictor 4 valve euphonium, circa 1920.


"My wife and I both thoroughly enjoyed the music presented.
I'm truly impressed with the soul that goes into the performances of all the artists, particularly on the slow pieces.
I think Ballade was superbly intermixed between both you and Malcolm. I think Peter Bale's review was right on. I'll go a little further, though, to say the interpretation from both yourself and Malcolm was right on target with my 'vision' of it before I ever put it to paper.
The interplay in the B section was more perfect live than my interpretation in my mp3 playback.
All in all, I would have nver guessed this was a premier. The bar's been set high on this one.
Kenneth D. Friedrich composer, U.S.A.

Just to let you know, Ballade was composed in four hours. Same with Air No. 12. Pieces like that won't allow for a break when getting it down. Thanks again for breathing life into them.

"Each time you premier one of my pieces it is better than the last. I know Ken has to be very pleased with your performance of his Ballade.
Such a lovely piece. Also I understand why Stuart Hyson was so enthusiastic in his thank you note.
You did a marvelous job with his Elegy- and it too is such a lovely work.
Finally kudos all around to you, Alex and Yvonne. She wrote a very enjoyable and entertaining duet. You and Alex did a marvelous job in performing an un-accompanied duet. Difficult to pull off and you did it so well."
Joe Miserendino composer, U.S.A.

"I have been listening to the recordings quite a lot. Some of the material is really excellent and I have to say the musicianship 1st.class!
I am extremely happy with the job you did on my litle piece. It never ceases to amaze me how top musicians can get the most of an average composition. The last 3rd. of the piece was most satisfying, and was played with great tenderness which was always my intention."
Stuart Hyson composer.

Hi Charley, Thanks so much for all your 'plugging', and please pass on my appreciation to your friend for his exposure. I have listened to the CD a few times now and I never realised how lyrical the euphonium can sound, with such a rich mellow texture.
It really creates a lot of colours in my mind.
As a result I have decided to write a piece especially for the instrument. I think it will initially have small accompaniment, and I may later arrange for small orchestra. I'll let you know how I get on in the 'not too distant future'!!
Once again thanks for all your help.
Stuart Hyson composer.

What a wonderful collection of fresh and interesting compositions. Thank you for "Journey" it's so good to be able to hear it live after listening to the computer playing at me for so long. The tonal variety in the higher register is remarkable and a lovely contrast and balance for the deeper notes. Malcolm did a great job - could you please thank and congratulate him for me?
Although the opening rhythm has been slightly altered I found it quite acceptable.
Ballade: you have certainly chosen very listenable music, Charley, and your new mic is a good one. I see what you mean about blocking out the piano; well, that's O.K. Piano-players are used to being eclipsed by the brass ! A lovely piece just the same.
Joe's "Nostalgic Night" has some attractive answering phrases and the meld of organ with euphonium is very pleasing, again the natural reverb has a lot to do with it. It's a delightful work. Good one, Joe.
Felix: it sounds like Alex really got a buzz out of doing it. The "bluesy" bit came off particularly well. He should not mind the odd smudge, piano-players make far more mistakes than other musos because they have so many more notes to play - it's all a question of 'faking' it to get by on the off-days! Thank you, both, a great rendition.
Elegy; restful and pleasing.
Cantabile & Scherzando: Yes, and I really loved the Scherz. - lively and tripping with a hint of English folk-music/Vaughan Williams about it.
Well, Charley, I didn't intend this to be so long, but I was so pleased with the C.D. that I hoped you wouldn't mind a few remarks. I have really fallen in love with the Low Brass sounds and the variety of pieces is so entertaining. I wonder where you find the time to do it all.
Ron and I send you our best.
Yvonne Anthony composer.

Reviewed by Peter Bale for

With blistering temperatures outside and only a handful of people in the church with fifteen minutes to go, it looked as if the potential audience may have succumbed to the lure of the English summer (catch it while you can!).

That, however, would be to underestimate the regular audience who attend the weekly series of free lunchtime concerts in this beautiful parish church. Sure enough, as noon drew near a respectable crowd waited in anticipation to hear a programme consisting largely of premiere performances.

Charley, whose banding career has included spells with Hanwell, John Laing Hendon and Sun Life Stanshawe, is currently soloist with the Buckinghamshire Symphonic Winds and the BBC Elstree Wind Band. For his solo recitals he is always on the lookout for new material, and the pieces featured on this occasion were truly international.

The opening item, Journey to the Centre, was from the pen of Yvonne Anthony, Scottish born but now living in Australia, with a background in the world of jazz as a pianist. Thus it was no surprise to find not only cadenzas in free time for the euphonium, but also an attractive and intricate piano solo feature. The journey depicted was that of a very laidback traveller on a voyage of discovery, in no hurry to reach his destination, and the less penetrating sound of the 1900 Courtois instrument chosen seemed particularly appropriate. (Charley has an ever-growing collection of instruments, and these are intended to be played, not just treated as museum pieces)

For the second piece, Ballade, by Texan Kenneth Friedrich, Charley took up his favoured modern-day instrument, a Willson 2900 from 1992. The melodic interest moved constantly between the euphonium and the piano, one stating the tune whilst the other reflected upon it, or provided gentle ornamentation. It was the controlled playing that really stood out in this performance, sometimes extremely quiet, particularly at the top of the range, with the sound never forced, making the audience concentrate and listen more intently.

Staying in the USA, Joe Miserendino wrote his Three Night Songs for cello and strings, but has adapted them for euphonium, this time with organ accompaniment. The movement selected for this recital was Song of a Nostalgic Night, and was played on Charley's latest acquisition, a Besson "Enharmonic" euphonium from 1918 - two sets of tuning slides, one for the middle and upper notes and a longer set for the lower notes. As for the music itself, melodically it was fairly straightforward and tonal, given the occasional chromatic inflection, but the underlying chords were at times most unexpected, to say the least! With sensitive choice of stops from Malcolm, it was a most successful pairing, with the euphonium never overpowered by its larger companion.

For the second item by Yvonne Anthony, Charley was joined by Alex Seedhouse, a member of Youth Brass 2000 and, with Charley, a regular contributor to theMouthPiece.com brass band discussion forum. Alex had just heard that he had passed his Grade 8 on euphonium, and was due to leave for an overseas trip with his band later in the week. A Few Licks for Felix consists of 5 variations for two euphoniums (no accompaniment) based on Felix Kept on Walking, the theme from the cartoon. The short variations encompass a number of styles, including waltz, swing and blues, and call on both players to use the full range of the instrument. Although Alex felt afterwards that he had not been at his best, the item was well received by the audience, and showed considerable potential, particularly once a fuller and warmer sound is developed.

The fifth premiere of the day found Charley taking up an 1891 Highams 5 valve euphonium to perform Elegy by Stuart Hyson. Having scoured various offerings on Sibelius seeking potential collaborators, it is somewhat ironic that Stuart hails from Feltham, only a few miles down the road. His Elegy was originally intended for flute but suited the euphonium perfectly, and the instrument itself was a joy to hear, with a light tone and sounding very easy-blowing right up to the top register.

For the final item, played this time on a Hawkes "Dictor" euphonium dating from 1920, Charley had raided the coffers of the French conservatoire. Cantabile & Scherzando was written by Henry Busser in the 1950's as a competition piece for trombone, but again it worked perfectly on euphonium, complete with an unusual 7 in the bar for the "Cantabile" section.

Thus ended a very enjoyable musical offering, after which refreshments were served at the back of the church, with an opportunity to mix informally with the performers. The combination of new and unusual repertoire coupled with the chance to see and hear some of the older instruments made for a very interesting time, and left the audience full of admiration as Charley coped manfully with the various fingering systems and tuning problems involved. Above all, however, it was the making of good music which counted, showing that new repertoire does not have to difficult for the listener, despite any technical problems it may pose for the players.
Peter Bale



Recital no.14, May 8th. 2004.

Dance with Europe, Seth Jervis (U.S.A.) Premiere;
Movement 2-France, Passapied
Movement 3, Ireland, Celtic Slip Jig

June (Op.37 no.6) Tchaikovsky (Barcarolle from 'The Months')
(with organ accompaniment)
Played on a Besson 3 valve Euphonium, circa 1912.

Chamelion, Pete Peters (originally for Recorder)
Adapted for euphonium & piano for this recital by the composer.
Played on a Highams 4 valve euphonium, circa 1914.

Rhineland Reverie, Mike Sharp (originally for Flute)
Played on a Highams 5 valve euphonium, circa 1891.

Daydreams, Kenneth D. Friedrich (U.S.A.) Premiere;
Adagio, Moderato, Andante Cantabile, Allegro
(Click Here to go to Ken's Homepage to hear the live recording.)

"I appreciate your putting Daydreams on your May recital. You and Malcolm added 'haunting' to the descrpition of the Andante movement and 'fun' to the Allegro. Malcolm didn't disappoint in his interpretation of the piano licks in the Moderato. Overall a great premiere."
Kenneth D. Friedrich composer (U.S.A.)

"Many thanks for the CD it is great! I liked the increase in tempo towards the end of the quick section,
I never thought of doing that but then it was written for recorder and it was fast enough for my school kids, good thinking! If it's alright with you I would eventually like to send you another piece. Many thanks again and I shall treasure the CD.
Pete Peters composer.

"You guys did a really good job on both movements! I was very impressed with the incredible flexibility you have. In my opinion France is the hardest movement solely based on it's demand for flexibility and higher range. France was excellent, and I like the 2nd section of Ireland slower.
BTW, whatever you guys did with the recording, the piano came out MUCH clearer this time.
Tell Malcolm he did a fabulous job! France is so difficult for the pianist and it was so well done, and the liberty taken in Ireland is complimentary to the piece. I must say it is so gratifying to hear your interpretations of these movements! I had origanally planned on cutting the center section of France because I did not like it, but upon hearing your performance of it I think I will keep it. I like the setup of it better now that I've heard it.
I just wanted to thank you Charley, and Malcolm also. Bravo!!!
Seth Jervis composer (U.S.A.)




Recital no.13, February 7th. 2004.

Allegro, Baldassare Galuppi (originally for Harpsichord) arranged by Martyn Steel Premiere;
played on a Hawkes Dictor 1915 Euphonium

Prelude no.5, Pete Peters (originally for Flute) Premiere;
played on a Courtois 1900 Euphonium

Concertino for Euphonium, movement 1, Rolf Wilhelm

Solveig's Song, from Peer Gynt, Grieg (with organ acompaniment)
played on a Highams 5 valve 1891 Euphonium

Theme & Variations, Eugene Bozza

Valse Sentimentale, Robert Thoms (Canada) Premiere;

(Click Here to go to Robert's Sibelius Homepage where the live recording will start playing.)

Jeanie With The Light Brown Hair, Stephen Foster arranged by Elgar Howarth
played on a Highams 5 valve 1902 Euphonium
Listen to this solo.

The Southern Cross, Herbert L. Clarke.
Listen to this solo.

"Thank you so much for the CD. I thought the performances were superb and thank you very much for them.
If you could give me a range and key I'd really like to arrange for you."
All the best, Martyn Steel Composer.

"I would just like to thank you for the CD of the recital. It was nothing short of magnificent. I admire the 'heart' in your performances.............as a token of my gratitude I've attached two pieces which I hope you will like.
Many thanks again and my best wishes to you."
Pete Peters Composer.

"I would like to thank you both for a wonderful rendition of Valse Sentimentale. Your professionalism as a duet is demonstrated in a tasteful interpretation of the said piece that resulted in a measure of rubato and artistic licence regarding dynamics being incorporated by you both which added so much expressiveness to the piece. I'm very pleased guys...thanks ever so much !
Robert James Thoms Composer (Canada).




Recital no.12, December 13th. 2003.

Courante, Tobias Lindh (Sweden) from Baroque Suite for Piano

Prelude op.28 no.6, Fr. Chopin
Listen to this solo.

Sonata in Two Movements, Robert Newton (originally for trombone)

Song of the Tranquil Night, Joe Miserendino (U.S.A.) Premiere
with organ accompaniment

Meditation, Graeme G. Stewart (Northern Ireland) Premiere
(no.2 of 3 Meditations for Flute)
Listen to this Solo

Dance With Europe, Seth Jervis (U.S.A.) (movement 1, Spain)

Click here for a live recording.
This will take you to Seth's web page.

(All on the Willson 2900 Euphonium)

"Hi Charley. I want to thank you for your wonderful performance of Song of the Tranquil Night - and of course my thanks to Malcolm as well. It is always a pleasure to hear one's music performed, even more so when it is performed so well. Thanks again.
Joe Miserendino composer (U.S.A.)

"Very well done! Congratulations for you and Malcolm! I haven't gotten a chance to listen to the CD yet in it's entirety, but I will listen to it soon get back to you. I did hear the first and last tracks though, and a little bit of the Tranquil Night too. Very nice job, especially after a short recovery period from the doctor. I just wanted to tell you that I did receive it and appreciate it very much! Thanks."

"I have had a chance to listen to the entire CD.........track 7 (Courante) is certainly very lively, it reminds me of something Vivaldi would write. Very nice trills by the way !

Track 10 (Sonata)..........I felt the lyricism, it shows off your tone. The piano accompaniment is just right too.

Track 11 is Joe's Tranquil Night......I think the name fits perfectly, this is exactly what comes to mind. Euphonium & Organ are such a great combination. The overtones sing throughout this piece. Joe really has a way with lyrical lines......
I think this is probably my favourite piece in the recital.

Track 12 (Meditation)........ is so warm, it just completely envelops the listener.

You guys certainly did a bang-up job on Spain ! I'm very impressed that both of you could pull that off so well and so musically in only 2 weeks. I really enjoyed the interpretation too. In the opening piano section the falling chords are portrayed exactly as I envisioned them. It's almost a lamenting resolve into the euphonium's first appearance. The cadenza was wonderful......the ending section was the perfect tempo too.
Please give Malcolm my congratulations as well."
Seth Jervis composer (U.S.A.)

"Many, many thanks for the recording of Meditation, it was great to hear it performed so beautifully !!
You really did the music justice, and I'm glad you enjoyed performing it. It was a lovely Christmas surprise.
Hope to maybe work with you again sometime soon."
Graeme Stewart composer (Ireland).

"I received the CD you sent me and I think it is very good. I am very pleased with your arrangement, it captures the essence of the piece. I was also very impressed with your playing, especially I was surprised that you managed to play the passages in such a swift tempo and with such accuracy. Thanks to the pianist too, for his insiteful and musical accompaniment."
Tobias Lindh composer (Sweden)



Recital no.11, August 2nd. 2003.

Autumn Moods, Joe Miserendino, (U.S.A.) Premiere
written for Charley Brighton, completing the suite "Music of the Seasons"

Sonatina, Movement 2, op.12, Kevin Hill (originally for Cello)

This Is My Father's World, Franklin Sheppard arranged by Douglas Houck (U.S.A.)
(played on a Highams 5 valve euphonium, circa 1891)

Song for Janet, Andrew Coxon, (originally for Clarinet) Premiere
(played on a Hawkes Dictor 4 valve euphonium, circa 1915)

And It's Spring, Yvonne Anthony (Australia) (originally for trombone)

Movement 3, Finale, Concerto in F Minor op.18,
Oscar Bohme revised by Franz Herbst.
(played on a Courtois 4 valve euphonium, circa 1900).


"I was delighted with your performance of my music. It has been played several times on clarinet but, as far as I am aware, you gave its first performance on Euphonium. I was really pleased that it worked out so well. I am now tempted to try an arrangement of it for Euphonium and Brass Band - a favourite medium of mine. Thanks again for giving my music an airing.
Andrew Coxon, composer.

"Thank you very much. I was curious to hear how it would sound on the organ other than the piano, and was not disappointed. In verse two, where it goes up an octave, the euphonium has a whole different timbre, which I thought was very effective (even better than on the piano).
Thanks again for selecting my song, and sending the recording".
Doug Houck, composer, U.S.A.

"Many thanks for sending the cassette and CD. The cello writing seems to transfer quite well to the euphonium. I have not listened to the entire contents on the recordings yet but, what I have heard sounds very good and members of the audience certainly enjoyed the performances. Perhaps I might try and write a brief piece for euphonium & piano-if I do, I will send it to you".
Kevin Hill, composer.

"Got the tape-thank you-for the performance and for the 'changes'. I'll listen a few more times-but will probably change the score and parts to incorporate the octave changes. Also thank Malcolm for his excellent and sensitive playing.
Will be listening to the other music before the day is out. Just had to thank you guys".
Joe Miserendino, composer, U.S.A.

I must say how good the whole recital was so far I have listened to the tape twice and look forward to the weekend when I can listen to the CD. And It's Spring was delightful, quite a different interpretation from the trombone, with the octave change unexpected and fresh on the ear. Although I had not had anything to do with the euphonium performance-wise, it has a lovely sound-almost seductive in places-with surprisingly varied tonal qualities, it's also more agile than I had dared to expect.
The Hawkes 4 valve seems to be somewhat brighter in tonality than the 5 valve, but it is a little difficult to tell exactly from the recording.
I'll be in touch when I've had a good listen to the CD".
Yvonne Anthony, composer, Australia.




Recital no.10, May 10th. 2003.

Capriccio (Keystone Capers), Joe Miserendino (Premier)

Piece for Flute & Piano, Thomas Baumhauer
(played on a Hawkes Dictor 4 valve euphonium, circa 1915)

Sonatina, James Mackie (for Charley Brighton) (Premier)

Variations on Sweet By and By, Joseph Webster arranged originally for piano, by Sarah Gruber
(played on a Courtois 4 valve euphonium, circa 1900)

Song of The Dark Night, Joe Miserendino ( Premier )
(played on a Highams 5 valve euphonum, circa 1891)
(with Malcolm Stowell, organ)

Music of The Seasons, Joe Miserendino (for Charley Brighton) ( Premier )
Winter Song
Spring Dances
Summer Celebration


"I can't thank you enough for the great performance of my music in your recital. How exciting to hear the recording, which I am now sharing with friends and family.To a composer there is nothing so rewarding as a live performance. That is especially true when done by an artist of your calibre and talent. And of course Malcolm is a super talent.
I look forward to a long and mutually satisfying relationship."
Joe Misrendino, composer, U.S.A.

"Yesterday I received your recording. Many thanks, it sounds wonderful !
Best wishes and thank you very much again.
Thomas Baumhauer, composer, Vienna.

"Thanks for the tape....I enjoyed the works of the other composers as well. Your playing of Sonatina was very sensitive, and was played with great beauty with that huge sonorous tone you produce. I am amazed by your 'staying power', you give long and difficult
repertoire recitals to large audiences, long may it continue."
James Mackie, composer, Scotland.

"Thank you very much for the tape, I love the sound of the euphonium, I think it has a very nice, mellow sound. Thank you so much for the recording. I have already listened to it twice! There are a few songs on it that are absolutely beautiful !
Once again, many thanks and good luck.
Sarah Gruber, composer, Canada.




Recital no.9, February 1st. 2003.

Arioso & Allegro, Joseph Hector Fiocco

Elegy, Martyn Steel (Premier)
(played on a Courtois 4 valve euphonium, circa 1900)

Variations on Twinkle Twinkle, Ben Reeve
(played on a Hawkes Dictor 4 valve euphonium, circa 1915)

Aka Tombo, (Japanese Folk Song), Yamada arranged by Philip Kim (Premier)
(played on a Highams 5 valve euphonum, circa 1891)

Sarabande, James Mackie (Premier)

Concerto in F minor, movement 1, Oskar Bohme.
(with Malcolm Stowell, organ)
Listen to this Solo.

"I just heard the recording of my arrangement of this wonderful Japanese childrens song. I thought it was great !
I'd never thought that my music would ever get played, but as I heard I was wrong. Thanks for playing it."
Philip Kim, composer, Japan.

"Thank you so much for the tape of your recital. It was a lovely choice of music and I thought the Elegy sounded very suited to the Euphonium. I thoroughly enjoyed the selection."
Martyn Steel composer.

"I have sent off a package of my music to you and your excellent pianist, in the hope you will play it. I have been inspired by your virtuoso musical playing, to write something for the Euph. but due to the fact that I am in the process of editing my second novel, "To Snare A Fox", I have been unable to start anything. In the meantime, I have sent you an arrangement for Euph and / or Baritone Horn of my Concertino for Oboe d' amore. I had to change the keys for range etc, and it's with full string orch. string quartet + bass. I had no time to re-write the string parts for Euph., but I did arrange the piano transcription / reduction for your instrument.
The Sarabande - Adagio should be played with great passion."
James Mackie composer.

"Thank you so much for sending the tape of your recent recital. I am delighted that you thought to send it. We have enjoyed listening to it and have shared it with our friends here. We were especially interested in the clarinet music you used and appreciate having that work brought to our attention. Congratulations on another excellent performance!"
Carol Jordan Rist composer, U.S.A.




Recital no.8 December 7th.2002

Duet (orginally for Flute & Harpsichord), Matthew Scott Phillips (Premier)

Waltz for Danielle, Joshua Boniface (Premier)
(Played on a Highams 5 valve euphonium, circa 1891)

Romance, Tim Foxon (Premier)
(Played on a Courtois 4 valve euphonium, circa 1900)

La Habana, John Robert Brown (Premier)
Listen to this solo

Soliloquy, Tim Foxon (Premier)

Solo Rhapsody, Denzil Stephens (with Malcolm Stowell, organ).


"You made an excellent job of arranging my music – it all worked incredibly well, as far as I can hear. Even Soliloquy – which I would have thought to be a challenge for brass instruments – came across as if it had been written for the instrument. Although the tempo was a little below what I would expect for a soprano sax performance, as a result I think you managed to capture superbly the laid-back atmosphere I was intending. Romance was similarly well adapted. The Quartet sounded great; a completely different sound world from the string version, but similarly evocative. I was very excited indeed to listen to these concerts. In fact, your playing has inspired me to write specifically for the euphonium in the near future. I shall let you know."
Tim Foxon composer.

"Your performance of Waltz for Danielle was just wonderful and made me so proud of my son,
your playing was excellent"
Julie Boniface ( parent ). Canada.

"I've been working in Norway all week. I returned to Leeds last night to find your cassette among my mail. Congratulations on the recital, and thanks for sending the recording so promptly. Your (excellent) performance of La Habana was a world premiere. Did you know that? Fascinating to hear all of the pieces adapted for the euphonium. You play beautifully; obviously the audience shares my opinion.
Do please let me know of any more performances - and I'll be particularly interested
if you ever put my piece onto CD."
John Robert Brown composer.

"I was most pleased with your rendition of my work and also enjoyed the other pieces on the programme.
Keep me informed of any other recitals you plan in the future."
Matthew Scott Phillips composer, U.S.A.

"Bravo! The playing is lovely and the instruments are really quite impressive.
I certainly appreciate the very informative notes as well.
They add a great deal to the program."
Al Rice, Fiske Museum, Claremont, L.A.




Recital No.7 August 3rd. 2002

A Pastiche of Mozart, James Waller (Premier)

Eri Tu che Macchiava Quell 'anima, from 'Un Ballo in Maschera', Verdi
(played on a Highams 5 valve euphonium, circa 1891)

Introduction & Allegro Spiritoso, J.B. Senaille arranged by Robin de Smet

I'd Rather Have Jesus, G.B. Shea arranged by Philip Kim (Premier)

Dans la Memoire de Chopin, Carol Jordan Rist (Premier)

Fantasy, Philip Sparke, with Malcolm Stowell, organ

"Your recital was wonderful and I was delighted to hear your interpretation of my piece. And how nice to get to hear all the other pieces on the tape, too. I'm just sorry that I could not have been there in person!
Again, thanks so much for allowing me to share in your wonderful recital by sending the tape."
Carol Jordan Rist composer, U.S.A.




Recital No.6 May 4th. 2002

Concertino, Terje Grondahl (originally for trombone)

Serenade, Charles Gounod

Song To The Moon, from Rusalka, Dvorak, soloist, Susan Vel, Baritone
Duet, Winter, Jon Raybould, with Susan Vel, Baritone (Premier)

Priere a Notre Dame, Leon Boellmann (from Suite Gothique Op. 25)
(played on a Highams 5 valve euphonium, circa 1891)
with Malcolm Stowell, organ

Varied Mood, Ray Woodfield

"Thanks so much for sending the cassette which I've been playing today. You made a real good job of my duet - thanks for including it in your concert. It was all superbly played, but in particular, the bit towards the end and the last notes were magical!
I wondered how it would sound on brass instruments.
Good luck for future concerts and thanks again."
Jon Raybould composer.




Recital No.5 February 2nd. 2002

Rhapsody, (trombone) Gordon Langford

Adagio in G Minor, Albinoni (with Malcolm Stowell, organ)

The Harmonious Blacksmith Variations, Ord Hume
(played on a Highams 5 valve 1891 euphonium, with piano accomp.)

Softly As I Leave You, De Vita




Recital No.4 December 15th. 2001.

Allegro from Bassoon Concerto K.V. 191, op.96, Mozart

Romance no. 3 for Cello, Robert Schumann

Variations on a Welsh Theme, Peter Kneale

Spring, op. 34 no. 2, Grieg
(played on a Highams 5 valve 1891 euphonium, with organ accomp.)

Maria & Tonight, from West Side Story, Leonard Bernstein




Recital No.3 September 15th. 2001.

Caprice, Kim, Allan Street

Vocalise op.34 no.14, Rachmaninoff

Blue Shadows (from the Violin Solo), Billy Mayerl

Tambourin, Gossec.

Soliloquy, Philip Sparke.
(played on a Highams 5 valve 1891 euphonium)

La Belle Americaine, John Hartmann.




No.2 June 30th. 2001.

Proclamation, Gordon Langford.

Calon Lan, John Hughes arranged by Eric Ball.
(with Susan Vel, Baritone).

Romanza from Concerto for Bass Tuba, Vaughan Williams.

Twilight Shadows, Steven Barton, for Euphonium, Clarinet & Piano.
with Fritz Steiger, Clarinet (UK & European Premier).

Largo al Factotum, Rossini.
(played on a Highams 5 valve 1891 euphonium)




No.1 May 26th. 2001.

Rule Britannia, John Hartmann.

Ava Maria, Bach / Gounod.

Napoli, Hermann Belstedt.

Intermezzo, Cavalieria Rusticana, Mascagni.

In Cellar Deep, Harry Hunter.
(played on a Highams 5 valve 1891 euphonium)

Czardas, Monti.




A - Z Listing of Solos;

A

Adagio in G Minor, Albinoni
A Christmas Sonnet, Friedrich
Adagietto, Mahler
A Few Licks for Felix (duet), Anthony
Aka Tombo, Yamada
Air no.12, Friedrich
Allegro, Galuppi
Allegro Bassoon Concerto, Mozart
And It’s Spring, Anthony
Arabella, Chester
Aragonaise, Miserendino
Arioso & Allegro, Fiocco
Ave Maria, Bach/Gounod

B

Ballade, Friedrich
Barcarole op.37 no.6, Tchaikovsky
Blue Shadows, Mayerl

C

Calon Lan (duet), Hughes
Cantabile & Scherzando, Busser
Canzona di Donna (duet), Miserendino
Canzonetta, D'Ambrosio
Capriccio, Miserendino
Cavatina, Dvorak
Chamelion, Peters
Chanson Triste, Tchaikovsky
Clockmaker, Roberts
Cloud Nine, Barry
Concertante, Holst
Concertante, Treherne
Concertino, Grondahl
Concertino-mov.1, Wilheim
Concerto for Euphonium-complete, Friedrich
Concerto mov.1, Danzi
Concerto in F minor-mov.1, Bohme
Concerto in F minor-mov.3, Bohme
Contemplation, Stephens
Contest Piece, Gedalge
Courante, Lindh
Cradle Song, Mozart
Cradle Song, Tchaikovsky
Czardas, Monti

D

Dance with Europe-France, Jervis
Dance with Europe-Ireland, Jervis
Dance with Europe-Poland, Jervis
Dance with Europe-Romania, Jervis
Dance with Europe-Spain, Jervis
Dancing Night Wind, Benning
Dans la Memoire de Chopin, Rist
Danza Movida & Danza Allegre, Moszkowski
Daydreams, Friedrich
Diversions, Messerschmidt
Duet for Flute & Harpsichord, Phillips

E

Elegy, Hyson
Elegy, Steel
Eri Tu, Verdi
Euphonium Concerto, Friedrich

F

Fantasy, Sparke
Fly Me To The Moon (duet), Treherne

G


Ground Brass, Peters

H

Harmonious Blacksmith Variations, Ord Hume

I

Ichabod, Tchaikovsky
I’d Rather Have Jesus, Kim
Impossible Dream, Leigh
Improvisation, Poulenc
In Cellar Deep, Hunter
Indian Point Rhapsody (duet), Friedrich
Intermezzo, Mascagni
Introduction & Allegro Spiritoso, Senaille

J

Jeannie With The Light Brown Hair, Foster
Journey to the Centre, Anthony

K

Kim, Street
Kiss of Light, Anthony

L

La Belle Americaine, Hartmann
La Habana, Brown
La Mantilla, Wright
Largo al Factotum, Rossini
Little Suite, Fine
London Nightscape, Miserendino
Long, Long Ago, Ritter
Lullaby, Menotti

M

Mantle of Blue, Bridge
Maria, Bernstein
Meditation, Stewart
Morning Song, Felton
Mot d'amour, Elgar
Mountains of Mourne, Newsome
Mozart Pastiche, Waller
Muckentanz, Bayrhoffer
Music of The Seasons, Miserendino
My Father’s World, Houck

N

Napoli, Belstedt
Night Traveller (duet), Friedrich
Nocturne, Di Marino
No Room (duet), Taylor

O

O Holy Night, Adam

P

Piece for Flute & Piano, Baumhauer
Pistons, Myers
Prelude & Blues, Wakefield
Preludio, Aria e Scherzo, Porrini
Prelude no.2, Gershwin
Prelude no.5, Peters
Priere a Notre Dame, Boellmann
Prelude op.28 no.6, Chopin
Proclamation, Langford

R

Recitative & Prayer, Berlioz
Recollections, Treherne
Rhapsody for Euphonium, Curnow
Rhapsody (trombone), Langford
Rhineland Reverie, Sharp
Riders of Rohan, Newton
Romance, Foxon
Romance-Tuba Concerto, V.Williams
Romance op.94 no.3, Schumann
Romance, Tubb
Romanze, Schmidtz
Rondo Divertimento, Miserendino
Rondo, Mozart
Rondo Giocoso, Weber
Rule Britannia, Hartmann

S

Sarabande, Mackie
Serenade, Gounod
Serenade, Rachmaninov
Silver Showers, Rimmer
Softly As I Leave You, De Vita
Soliloquy, Foxon
Soliloquy, Sparke
Solitaire, Arnold
Solo Rhapsody, Stephens
Solveig’s Song, Grieg
Sonata K303, Mozart
Sonata, Mackie
Sonata in 2 Movements, Newton
Sonata no.1, Gardiner
Sonatina op.12, Hill
Sonatina, Mackie
Song & Dance, Vinter
Song for Janet, Coxon
Song of The Dark Night, Miserendino
Song of a Nostalgic Night, Miserendino
Song of a Tranquil Night, Miserendino
Southern Cross, Clarke
Spring, Grieg
Springtime, Heath
Suite in F, Lloyd Webber
Sunrise, Sunset, Bock

T

Tambourin, Gossec
Tarantella, Andersen
Theme & Variations, Bozza
Theme & Variations, Iles
The Sun Has Got His Hat On, Sparke
Tonight, Bernstein
Twilight Shadows (with Clarinet), Barton
Twilight Shadows (with euphonium), Barton

V

Valse, Poulenc
Valse Sentimentale, Thoms
Variations on America, Ives
Variations on Gentle Annie, Thorne
Variations on Sweet By & By, Gruber
Variations on The Londonderry Air, Osborne
Variations on Twinkle, Twinkle, Reeve
Variations on a Welsh Theme, Kneale
Varied Mood, Woodfield
Vocalise, Rachmaninoff
Vortragsstuck, Baerman

W

Waltz for Danielle, Boniface
Weber's Last Waltz, Rimmer
Willson Concertante
Winter (duet), Raybould



Concert Review, Thursday, June 16th.2005.
Lunchtime Prom at St. Jude's Hampstead


Guest solo appearance with the Nonesuch String Orchestra, conductor Christopher Dawe, performing the Premier of Summer Celebration from Music of The Seasons, By Joe Miserendino, and the Mozart Romance.





Programme notes here

Recording of the Mozart here



Planning a Recital


I schedule 4 recitals a year at St. Mary's. I meet up with Malcolm and play through about an hours worth of music that will eventually total a maximum of 35 minutes for a recital. It's made up of music I want to play, favourites etc. that I know will go down well, and new music either just received or published.

All the items are recorded for timings and for me to take away and listen to. A short list is drawn up and sometimes an additional run through will be arranged just to make sure a piece will come off. The left over pieces are usually set by for the following recital where once again, they will be played through and mixed with more new works.

Once a basic programme is in order, I then have to decide which pieces will be played on which instrument. Obviously, the most demanding works are normally performed on the Willson, but there are also many others I try to feature as well. These older instruments each perform to their best in different ways, the Highams 5 valves are best in their top or middle registers as the fingering can be clumsy down the bottom.
The Hawkes and Courtois are fairly safe on most music, but you have to be aware of slight intonation problems, especially if you are performing a new work for someone.

I also like to combine with the magnificent organ at the Church, although this presents problems in itself as the pitch is old French diapason, where A= (approx) 428 instead of 440. So the instrument chosen has to have a big main tuning slide that can pull the pitch down.

Once finalised, I like to work on 2 programmes together, the current chosen one for the next recital, and the remaining one that is gradually broken down in readiness. Further rehearsals with Malcolm are done, each recorded so I can study them at home. Sometimes, a new work is offered late in the day and is so good, I want to include it. This is where Malcolm is so helpful, and we normally bring it off.

As the date looms closer, I make a point of being able to perform the whole programme at a high standard one week before the recital. The final week is then given to polishing the pieces (and all the instruments) and going back to the basics that may have slipped through the net.

If the Saturday performance has been particularly heavy, I usually leave the instrument alone on Sunday, coming back fresh on the Monday to start all over again, though this is not always the case.

A further study of the recording hopefully reveals that progress in each recital has been made, and that the next will be even better !



Euphoniums Wanted !

I am interested in purchasing old euphoniums,
particularly Highams, Gisborne and other lesser known brands.
Preferably in playing condition, but not essential.


Email us here


Telephone contact numbers; 01753 575766, Mobile 07905 169850.


DS Al Fine