The Euphonium Collective

Listing of Euphonium Recitals given at St. Mary's Parish Church, Slough
from February 2001 to February 2020
with Malcolm Stowell, Piano & Organ.

June 2023

Scroll down for previous euphonium recital programmes & reviews.

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.

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

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.

Ichabod
Tchaikovsky arranged by Harold T. Brash
(with organ accompaniment)

"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!
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; (Played on a Willson 2900 Euphonium except where stated)
Dance with Europe, Seth Jervis, U.S.A. Premiere
Finale, movement 5, Poland, Polonaise.

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

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.

"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.
Programme of Music; (Played on a Willson 2900 Euphonium except where stated)

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

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.
Programme of Music; (Played on a Willson 2900 Euphonium except where stated)

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.

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

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

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

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

"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.
Programme of Music; (Played on a Willson 2900 Euphonium except where stated)

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

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

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.

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.

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 the MouthPiece.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

A

Adagio in G Minor, Albinoni
A Christmas Sonnet, Friedrich
A Choir of Angels, McDowall
Adagietto, Mahler
Adagio, Casedesus
Adagio & Tarantella, Cavallini
A Few Licks for Felix (duet), Anthony
Aka Tombo, Yamada
Air no.12, Friedrich
Air Varie, Lloyd Webber
Album Leaves, Gliere
Allegro, Galuppi
Allegro Animato, Saint-Saens
Allegro Guerriero, Bruch
Allegro Bassoon Concerto, Mozart
All That I Am, Himes
Andante & Allegro, Gomes
Andante Cantabile, Tchaikovsky
And It’s Spring, Anthony
Arabella, Chester
Aragonaise, Miserendino
Aria, Bruch
Arioso & Allegro, Fiocco
Ave Maria, Bach/Gounod
Ave Maria, Schubert (duet)

B

Ballade, Friedrich
Bacchanale, Saint-Saens
Ballade, Matys
Barcarole op.37 no.6, Tchaikovsky
Beautiful Colorado, DeLuca Because You Asked, Wiffin
Bees-a-Buzzin', Siebert
Benedictus, Jenkins
Berceuse, Beach
Berceuse, Brull
Berceuse, Ilynsky
Berceuse de Jocelyn, Godard
Be Well, Treherne
Birth of Dawn, Clarke
Blue Bells of Scotland, Pryor
Blue Shadows, Mayerl
Brief Interlude, Miserendino
Brighton Rock, McVicar
Brilliante (duet), Graham

C

Calon Lan (duet), Hughes
Cantabile, Paganini
Cantabile & Scherzando, Busser
Canzona di Donna (duet), Miserendino
Canzonetta, D'Ambrosio
Canzonetta, Pierne
Capriccio, Miserendino
Capriccio, Weissenborn
Caprice, Woodfield
Cavalier, Sutton
Cavatina, Dvorak
Celebration, Treherne
Centurion, Melissano
Charley's Rondo, Taylor
Chamelion, Peters
Chanson Triste, Tchaikovsky
Chants Russes, Lalo
Clockmaker, Roberts
Cloud Dancing, McGain-Harding
Cloud Nine, Barry
Colonial Song, Grainger
Concertante, Holst
Concertante, Treherne
Concertino, Grondahl
Concerto no.1, Spohr
Concertino-mov.1, Wilheim
Concerto for Euphonium-complete, Friedrich
Concerto mov.1, Danzi
Concerto mov. 3, Danzi
Concerto F minor-mov.1, Bohme
Concerto in F minor-mov.3, Bohme
Concerto no.2, Milde
Concerto Pour La Fin D'un Amour, Lai
Contemplation, Stephens
Contest Piece, Gedalge
Comfort My People, Redhead
Comin' Thro' The Rye, Thornton
Courante, Lindh
Country Gardens variations, Garfield
Cradle Song, Ireland
Cradle Song, Mozart
Cradle Song, Tchaikovsky
Czardas, Degg
Czardas, Monti
Czardas no.2, Monti
Czardas, Strauss

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
Dance of the Comedians, Smetana
Dancing Night Wind, Benning
Dans la Memoire de Chopin, Rist
Danse Macabre, Saint-Saens
Danza Movida & Danza Allegre, Moszkowski
Daydreams, Friedrich
Deep River, Coleridge-Taylor
Deep Inside the Sacred Temple, (duet) Bizet
Demelza, Nash
Dimitri, Newton
Diversions, Messerschmidt
Donegal Bay, Lovatt-Cooper
Duet for Flute & Harpsichord, Phillips
Dusk, Armstrong-Gibbs

E

Elegy, Hyson
Elegy, Ireland
Elegy, Steel
Elfentanz, Jenkinson
Eri Tu, Verdi
Euphonium Concerto, Friedrich
Euphony, duet, Stephens
Euphoria, Green

F

Fantasy, Glorieux
Fantasia, Bulla
Fantasia, Hingley
Fantasy, Sparke
Finnish, Bruch
Fly Me To The Moon (duet), Treherne
Folk Tune, Whitlock
Forlana, Finzi

G

Ground Brass, Peters
Great Is Thy Faithfulness, Runyan
Gira Con Me, Foster
Give Thanks, Court

H

Harmonious Blacksmith Variations, Ord Hume
Hailstorm, Rimmer
Harlequin, Sparke
Holy Well (The), Graham
Hommage A Bach, Bozza
Hungarian Dance, Delibes
Hymne, Goeyens

I

Ichabod, Tchaikovsky
I’d Rather Have Jesus, Kim
If, Messerschmidt
Il Bacio, Arditi
Impossible Dream, Leigh
Improvisation, Poulenc
In Cellar Deep, Hunter
Indian Point Rhapsody (duet), Friedrich
In Memoriam, Anthony
Intermezzo, Mascagni
Intrada, Sicilienne & Minuet, Thorne
Introduction & Allegro Spiritoso, Senaille
Introduction & Variations on a Theme of Franz Schubert, David

J

Jeannie With The Light Brown Hair, Foster
Jasper's Dance, Sullivan
Journey, Hopkins
Journey to the Centre, Anthony

K

Kim, Street
Kiss of Light, Anthony

L

La Belle Americaine, Hartmann
La Danse des Papillons, Steadman
Ladies in Lavender, Hess
La Habana, Brown
La Mantilla, Wright
La Tregenda, Puccini
Largo al Factotum, Rossini
Lark In The Clear Air, trad
Last Night of the World, Miss Saigon
Lento (Euphonium Concerto), Horovitz
Libertango, Piazzolla
Le Roi D'ys, Lalo
Linden Lea, Vaughan Williams
Liebesleid, Kreisler
Little Serenade, Melissano
Little Suite, Fine
London Nightscape, Miserendino
Long, Long Ago, Ritter
Lucille, Code
Lullaby, Menotti
Lucy Long Variations, Godfrey
Lyric Suite, Grieg
Lyrical Melody, Collins

M

Maestoso Spiritoso, Treherne
Mantle of Blue, Bridge
Maria, Bernstein
Masquerade, Melissano
Mazurka, Godard
Meditation, Stewart
Mill Pond duet, Treherne
Morning Song, Felton
Mot d'amour, Elgar
Mountains of Mourne, Newsome
Moving, Ferrante
Mozart Pastiche, Waller
Muckentanz, Bayrhoffer
Music of The Seasons, Miserendino
Musing, Miserendino
Myfanwy, Stephens
My Father’s World, Houck

N

Napoli, Belstedt
New World Variations, Woodward
Nightingales Sang, duet
Night Traveller (duet), Friedrich
Nocturne, Di Marino
Nocturne, Strauss
No Room (duet), Taylor

O

O Holy Night, Adam
Old Folks at Home, Foster

P

Pastoral Tune, Robinson
Pavanne, Widor
Peace, Golland
Perpetuum Mobile, Strauss
Petites Litanies De Jesus, Grovlez
Piece for Flute & Piano, Baumhauer
Pilatus, Richards
Pistons, Myers
Poemes Hongroise, Hubay
Polovstian Dances, Borodin
Prayer, Bloch
Prelude & Blues, Wakefield
Preludio, Aria e Scherzo, Porrini
Prelude no.2, Gershwin
Prelude no.5, Peters
Prelude on Down Ampney, Ley
Priere a Notre Dame, Boellmann
Prelude op.28 no.6, Chopin
Proclamation, Langford
Presto, Norwegian Rhapsody, Lalo

Q

Queen of the Night's Aria, Mozart

R

Recitative & Prayer, Berlioz
Recollections, Treherne
Reflections, Treherne
Return to Sorrento, De Curtis
Reverie, Debussy
Rhapsody for Euphonium, Curnow
Rhapsody (trombone), Langford
Rhineland Reverie, Sharp
Riders of Rohan, Newton
Ritual Fire Dance, De Falla
Romance, Foxon
Romance, Jenkins
Romance, Kanda
Romance-Tuba Concerto, V.Williams
Romanze, Reger
Romance op.94 no.3, Schumann
Romance, Tubb
Romanze, Schmidtz
Romance, Wolf-Ferrari
Rondo - Cornet Concerto, Wright
Rondo Alla Turka, Mozart
Rondo Divertimento, Miserendino
Rondo, Mozart
Rondo Giocoso, Weber
Rule Britannia, Hartmann
Russian Dance, Bohme

S

Sabre Dance, Khachaturian
Sarabande, Mackie
Sarabande, Bohm
Scenes Espagnole, Brull
Scherzo, Miroshnikov
Serenade, Elgar
Serenade, Gounod
Serenade, Rachmaninov
Serenade, Romberg
Serenade, Schubert
Serenade, Suk
Shenandoah, Carr
Siciliana & Allegro, Cimarosa
Sicilienne, Faure
Sicilienne, Paradis
Silver Showers, Rimmer
Six Studies in English Folk Song, Vaughan-Williams
Slavische Fantasy, Hohne
Softly As I Leave You, De Vita
Soliloquy, Foxon
Soliloquy, Sparke
Soliloquy Triste, Miserendino
Solitaire, Arnold
Solitude, Ellington
Solo Rhapsody, Stephens
Solveig’s Song, Grieg
Sonata, Fine
Sonata K303, Mozart
Sonata, Mackie
Sonata no.2, Cherubini
Sonata in 2 Movements, Newton
Sonata in G Major, Senaille
Sonata no.1, Gardiner
Sonata mov.2, Saint-Saens
Sonatina op.12, Hill
Sonatina, Mackie
Song & Dance, Vinter
Song In Memorium, Rydland
Song for Janet, Coxon
Song of Hope, Meechan
Song of The Dark Night, Miserendino
Song of a Nostalgic Night, Miserendino
Song of a Tranquil Night, Miserendino
Song of the Hills, Head
Song of the Seashore, trad
Song Without Words, German
Southern Cross, Clarke
Spring, Grieg
Spring Rhapsody, Hopkins
Springtime, Heath
Stuff, Grant
Suite Antique, Rutter
Suite from The Victorian Kitchen Garden, Reade
Suite in F, Lloyd Webber
Summer Suite, Miserendino
Summertime, Gershwin
Sunrise, Sunset, Bock
Symphonic Rhapsody, Gregson

T

Tambourin, Gossec
Take Five, Desmond
Tambourin, LeClair
Tarantella, Bizet
Tarantella, Milde
Tarantella, Andersen
Tarantella Napolitana, Rossini
Theme & Variations, Bozza
The Legend, Wiffin
Theme & Variations, Iles
Theme from Schindler's List, Williams
The Midnight Sun Will Never Set, Jones
There Will Be God, Webb
The Song of The Brother, Leidzen
The Sun Has Got His Hat On, Sparke
The Trouble with the Tuba Is, Relton
Three Pieces in Folk Style, Schumann
Tonight, Bernstein
Tranquillity, Treherne
Travelling Along, Mallett
Twilight Shadows (with Clarinet), Barton
Twilight Shadows (with euphonium), Barton
Two Part Invention, Sparke (duet)
Two Part Invention 4 & 14, Bach (duet)

V

Valse, Poulenc
Valse, Chopin
Valse Scherzo, Tchaikovsky
Valse Sentimentale, Thoms
Valse Triste, Sibelius
Variations 1-4, Lloyd Webber
Variations on Amazing Grace, Hielscher
Variations on America, Ives
Variations on Gentle Annie, Thorne
Variations on Jenny Jones, Rimmer
Variations on Long, Long Ago, Boddington
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
Winter's Meditation, Hall
Woodland Song, Ball

Y

Ye Banks and Braes, Rance
You Raise Me Up, Lovland, Graham

Z

Zelda, Code

Concert 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.

ITEC 08, USA!

In June 2008 I was invited to perform in Cincinnati. I had to submit a programme (max 14 mins) early,
so I chose Anthony Wakefield's Prelude & Blues with piano and Tony Osborne's 2 Variations on Londonderry Air for unaccompanied Euphonium. Both were written for me and premiered at St. Mary's. Details are below.

Anthony Wakefield

Born in Lancashire in north-west England and taking up the piano & clarinet, he gained performing and teaching diplomas at the Royal and London Colleges of Music. He also studied composition and orchestration with Gordon Reynolds of the Chapel Royal, Hampton Court and Leon Young of London’s 'Tin Pan Alley'!
His compositions have brought awards in 1996 and 1997 from the Clarinet and Saxophone Society of Great Britain. 2005 saw Ben Redwine, a US Navy Band’s principal clarinettist; commission `Praying Mantis` for his performance at that year’s International Clarinet Association’s Convention in Atlanta City. Awards from the BBC & Musicians Union competitions for the BBC Concert Orchestra.
He has acted as assistant to John Williams in preparing and adapting arrangements for the ‘Film-harmonic’ series of concerts with the London Symphony Orchestra.
His arrangements of carols, recorded by the world famous Brighouse and Rastrick Band is a favourite during each Christmas season.
Incidental music for TV drama and media music for the Carlin Recorded Music Library brought one of the first identity logo 'jingles' for Channel Four, (UK) it’s duration being all of 4 seconds!
'Task Force - The Battle for the Falklands`, a symphonic concert band march, was used as the opening and closing titles to the ITN/Granada TV Video Newsreel Production of the Falklands War. `Hauntings', for clarinet and piano, was one of three test pieces performed for an international internet clarinet competition, and has been recorded in 2008 by Leslie Craven, principal clarinet of Welsh National Opera, in Cardiff.
From Lancashire’s tall, industrial, smokey chimneys, and London’s stressful music business era at EMI, preparing Queen, Adam Ant, Kate Bush and even the Sex Pistols scores for print, he continues to compose and arrange, also now enjoying the Surrey foliage, tits and wagtails, who insist on interrupting his woodwind teaching from time to time.
From North America to North Korea, via Germany, France, Spain and Australia, Anthony Wakefield’s music seems indeed to be of some use, whereby hopefully bringing some pleasure also to those who play and listen to it.

Prelude & Blues

The photograph of Musical Director Rob Wiffin, myself and composer Anthony Wakefield, taken following the rehearsal for the premier performance of Prelude & Blues, with the Buckinghamshire Symphonic Winds, Marlow, April 9th. 2005. The composer and performer first met in the Hanwell Band in West London. Philip Sparke was rehearsing some of Anthony’s scores with the band back in the 1980’s. In 2002 they made contact again and Charley asked that he write a `solo with a difference’ for the Euphonium.
And so Prelude & Blues was written the following year and premiered by Charley (in the presence of the composer and his wife) at St. Mary’s, Slough with Malcolm Stowell at the piano.
The wind band version was premiered in the summer of 2003 with the Buckinghamshire Symphonic Wind Ensemble, conducted by Rob Wiffin, Director of Music of the RAF Central Band.

The work opens with a bold, modern style of Prelude, the shorter of the 2 movements, marked Allegro Moderato Triumphale. The Euphonium weaves through contrasting sections and dynamics, before the opening statement returns, this time naturally giving way to the final blues statement and coda.
The 12 bar blues idea is to treat the band (or piano accompaniment) as a 1920`s rhythm section, with the euphonium comfortably soloing above. There’s a pause for a cadenza, and the blues returns, eventually soaring through the whole euphonium’s range - top to bottom, ever twisting its intricate and haunting theme, without ever needing to swing at all.

Tony Osborne

Composers Terry Treherne (left) and the late Tony Osborne (front) with me and accompanist Malcolm Stowell following premieres of their works at my 22nd. Euphonium Recital, May 6th. 2006 St. Mary's Slough.

Tony Osborne was born 1947 in Slough, Berkshire, UK, into a musical family. His father was a violinist and his brother played double bass. Tony was introduced to a mix of classical and jazz music from an early age, and studied composition with Richard Stoker and double bass with John Walton at the Royal Academy of Music. He enjoyed a busy and varied career as composer, bassist and teacher. He performed with the BBC Symphony and Concert Orchestras, the Royal Ballet, in cabaret with the late Sir Harry Secombe, Frankie Vaughan and Faith Brown, at The Ritz, Dorchester, Savoy, and other London venues, Henley Regatta, Theatre Royal Windsor, and even on the Orient Express! Tony was well known as a leading composer for double bass and his music is included in the leading UK and Australian graded examinations syllabi. He was elected Associate of the Royal Academy of Music in 2000, and is a member of the British Academy of Composers & Songwriters. He was juror for the British Composer Awards in 2003 and 2006.
Tony was a Visiting Lecturer in Composition at Bulmershe College, University of Reading.

Variations on Danny Boy (Londonderry Air) for Unaccompanied Euphonium

These variations are from a suite of four entitled 'Danny O'Boy', originally commissioned by US bass soloist, teacher and author, Barry Green to play as a double bass solo for a wedding near to his California home! Coincidentally, Barry was for many years Principal Bass of the Cincinnati Symphony. He is author of the ever popular books: The Inner Game of Music and The Mastery of Music and teaches extensively in San Francisco. They were later arranged both for solo flute, and also for traditional Irish Ceilidh band and then these two movements, for the splendid and devoted Euphonium virtuoso, Charley Brighton to perform at St. Mary’s Slough.

On November 3rd.2004, I signed a contract with Willi Kurath, Director of Willson Band Instruments in Flums, Switzerland, to promote their Euphoniums, and have had a new 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.”

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

DS Al Fine

The Euphonium Collective

Listing of Euphonium Recitals given at St. Mary's Parish Church, Slough from February 2001 to February 2020with Malcolm Stowell, Piano & Organ. June 2023

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Listing of Euphonium Recitals given at St. Mary's Parish Church, Slough
from February 2001 to February 2020
with Malcolm Stowell, Piano & Organ.

June 2023