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.

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  • Recital Facts & Figures Since May, 2001

    77 recitals given, playing 420 pieces of music,
    by 257 different composers,
    from 25 different countries,
    with 351 on piano, 60 on organ
    featuring 31 duets, 1 trio and 92 premiers,
    on 32 different euphonium models,
    to a total audience of 3,715 people.

    Recital no.77, February 15th. 2020
    with Sue Brighton, Baritone & Malcolm Stowell, piano & organ
    Programme of Music; (Willson 2950 Euphonium)

    Capriccio Op.14 (originally for Bassoon)
    Julius Weissenborn (1837-1888)

    Finnish Op.70 no.2 (originally for Cello)
    Max Bruch (1838-1920)

    Duet; Calon Lan
    John Hughes (1872-1914) arranged by Eric Ball
    with guest Sue Brighton, Baritone

    Dimitri (theme from the George Siougas film)
    Rodney Newton (b. 1945) with organ accompaniment

    Canzonetta Op.19 (originally for Clarinet)
    Gabriel Pierne (1863-1937)

    Rondo, Movement III of Concerto for Cornet
    Denis Wright (1895-1967)

    Recital no.76, November 9th. 2019
    with Keith Muggeridge, Baritone & Malcolm Stowell, piano & organ
    Programme of Music; (Willson 2950 Euphonium)

    Ludwig Milde (1849-1913)

    Aria Op.70 no.1
    Max Bruch (1838-1920)

    Duet; Brilliante, Fantasy on Rule Britannia
    Peter Graham (b. 1958) with Keith Muggeridge, Baritone

    Duet; Ave Maria, Schubert (1797-1828)

    All That I Am
    William Himes (b. 1949)
    with organ accompaniment

    Hungarian Dance from Coppelia
    Leo Delibes (1836-1891)

    Recital no.75, August 17th. 2019
    with Malcolm Stowell, piano & organ
    Programme of Music; (Willson 2950 Euphonium)

    Georges Bizet (1838-1875)
    originally for voice & piano arranged & edited for Euphonium by Charley Brighton

    The Legend#
    Because You Asked*
    Two premieres for Euphonium by Rob Wiffin (b. 1954)
    #Played on a 1940 B&H Solbron Imperial Euphonium
    *Played on a 1980 B&H Imperial Euphonium

    Lento (from The Euphonium Concerto)
    Josef Horovitz (b. 1926)
    with organ accompaniment

    Ye Banks and Braes, Robert Burns (1759-1796)
    Theme & variations by Ernest Rance (1896-1988)

    Recital no.74, May 25th. 2019
    with Malcolm Stowell, piano & organ
    Programme of Music; (Willson 2950 Euphonium)

    Valse Scherzo Op.34
    P. Tchaikovsky (1840-1893) adapted and edited by Charley Brighton

    Old Folks at Home
    Stephen C. Foster (1826-1864) from the cello arrangement by Gustav Strube

    Song of Hope
    Peter Meechan (b. 1980) with organ accompaniment

    The Midnight Sun Will Never Set
    Dorcas Cochran, Henri Salvador & Quincy Jones
    played on a 1980 Lafleur Marching Euphonium

    Fantasia on the Welsh Melody ‘Jenny Jones’
    William Rimmer (1862-1936)

    Recital no.73, February 23rd. 2019
    with Malcolm Stowell, piano & organ
    Programme of Music; (Willson 2950 Euphonium)

    Variations 1-4, Niccolo Paganini (1782-1840)
    arranged by Andrew Lloyd Weber (b.1948)

    Linden Lea, Ralph Vaughan Williams (1872-1958)
    arranged by Dennis Masters
    played on an 1891 Highams 5 valve Euphonium

    Pilatus, Mountain Air, Goff Richards (1944-2011)
    with organ accompaniment

    Give Thanks, Henry Smith arranged by Douglas Court
    Played on a 1982 Imperial Euphonium

    Take Five, Paul Desmond (1924-1977) transcribed by Gary Keller
    Played on a 1980 Lafleur Marching Euphonium

    Libertango, Astor Piazzolla (1921-1992)
    arranged for Euphonium by Charley Brighton
    piano accompaniment adapted by Malcolm Stowell

    Recital no.72, November 17th. 2018
    with Malcolm Stowell, piano & organ
    Programme of Music; (Willson 2950 Euphonium)

    Three Pieces in Folk Style op.102, Robert Schumann (1810-1856)
    arranged by Paul Droste

    Air Varie, William Lloyd Webber (1914-1982)

    Song (in memoriam, Bengt Ekland), Frode Rydland
    with organ accompaniment

    Solitude, Duke Ellington (1899-1974)
    arranged by Reg Owen

    Sabre Dance, from the ballet ‘Gayanne’, Aram Khachaturian (1903-1978)
    arranged for Euphonium by Charley Brighton
    piano accompaniment adapted by Malcolm Stowell

    Recital no.71, August 11th. 2018
    with guest Sue Brighton, Baritone and Malcolm Stowell, piano & organ
    Programme of Music; (Willson 2950 Euphonium)

    Theme & Variations; Lucy Long
    Fred Godfrey arranged by Eric Wilson
    played on a 1922 Buescher Double Bell 5v Euphonium

    The Holy Well, from ‘On Alderley Edge’
    Peter Graham (b.1958), piano transcription by Margaret Antrobus

    Midnight Euphonium
    Goff Richards (1944-2011)
    Sue Brighton, Baritone

    Maria Theresia von Paradis (1759-1824), with organ accompaniment

    Summertime, from Porgy & Bess
    George Gershwin (1898-1937) arranged by John Alley

    Bacchanale from Samson & Delilah
    Saint-Saens (1835-1921) arranged for Euphonium by Charley Brighton
    piano accompaniment adapted by Malcolm Stowell

    Recital no.70, May 5th. 2018
    with guest Marilyn Elliott, Tenor Horn and Malcolm Stowell, piano & organ
    Programme of Music; (Willson 2950 Euphonium)

    Alpine Echoes
    Basil Windsor, Originally for Echo Cornet
    played on a 1922 Buescher Double Bell 5v Euphonium

    Aria in G minor
    Jean-Marie Le Claire (1697-1764)

    Duet; Pavane op.50
    Gabriel Faure (1877-1962)
    from the arrangement for violin & cello by Henri Busser
    with guest Marilyn Elliott, Tenor Horn

    The Lonely Shepherd
    James Last (1929-2015)
    arranged by Rolf Basel, with organ accompaniment

    Party Piece
    Philip Sparke (b.1951)

    Recital no.69, February 25th. 2018
    with Malcolm Stowell, piano & organ
    Programme of Music; (Willson 2950 Euphonium)

    Four English Dances
    Malcolm Arnold (1921-2006)
    Andantino, Mesto, Grazioso & Con Brio

    Dearest Name (Annie Laurie)
    trad. arranged by David Catherwood (b.1956)

    Goff Richards (1944-2011)

    Legend op.116 no.5
    August Nolck (1862-1928) with organ accompaniment

    Grand Valse Brilliante op.18 no.1
    Frederic Chopin (1810-1849)
    arranged by Charley Brighton, accompaniment arranged by Malcolm Stowell

    Recital no.68, November 11. 2017
    with Malcolm Stowell, piano & organ
    Programme of Music; (Willson 2950 Euphonium)

    Presto from Norwegian Rhapsody
    Edouard Lalo (1823-1892)
    arranged by Charley Brighton

    The Lark in The Clear Air
    arranged by Stephen Roberts (b.1952)

    Valse Brilliante; The Birth of Dawn
    Herbert L. Clarke (1867-1945)

    Karl Jenkins (b.1944)
    with organ accompaniment, movement 2 of the Euphonium Concerto

    Ritual Fire Dance
    Manuel de Falla (1876-1946) from the opera The Bewitched Love arranged by Charley Brighton

    Recital no.67, August 8th. 2017
    with guest Marilyn Elliott, Tenor Horn and Malcolm Stowell, piano & organ
    Programme of Music; (Willson 2950 Euphonium)

    Finale; Concerto no.1
    Louis Spohr (1784-1859)
    originally for clarinet

    Waltz; Dusk
    Cecil Armstrong-Gibbs (1889-1960)
    arranged by Charley Brighton
    Played on a 1977 Marzan 4v Euphonium

    Duet; La Tregenda (The Spectre)
    Giocomo Puccini (1858-1924) arranged by Charley Brighton
    from the opera, Le Villi (The Witch Hunters), with guest Marilyn Elliott

    Claude Debussy (1862-1918)
    with organ accompaniment, adapted from the violin & cello arrangements by Charley Brighton
    Played on a 1982 Boosey & Hawkes Imperial Euphonium

    Polovstian Dances from Prince Igor
    Alexander Borodin (1833-1887) arranged by Charley Brighton

    Recital no.66, May 6th. 2017
    Programme of Music; (Willson 2900 Euphonium)

    Rondo Alla Turka
    Mozart (1756-1791)
    movement 3 of the Piano Sonata no.11, K331, arranged by Robert Childs/Philip Wilby
    Played on a 1980 Imperial Euphonium

    Valse; Il Bacio (The Kiss)
    Luigi Arditi (1822-1903)
    arranged by Charley Brighton
    Played on a 1940 Imperial Euphonium

    Six Studies in English Folk Songs, R. Vaughan Williams (1872-1958)
    1. Adagio (Lovely on the Water)
    2. Andante sostenuto (Spurn Point)
    3. Larghetto (Van Dieman's Land)
    4. Lento (She Borrowed Some of her Mother's Gold)
    5. Andante tranquillo (The Lady and the Dragoon)
    6. Allegro vivace (As I walked over London Bridge)

    Benedictus from The Armed Man, Karl Jenkins (b. 1944) with organ accompaniment
    Played on a 1980 Lafleur Marching Euphonium

    Danse Macabre, Saint-Saens (1835-1921)
    solo part adapted for Euphonium by Charley Brighton, accompaniment arranged by Malcolm Stowell

    Recital no.65, February 18th. 2017
    with Malcolm Stowell, Piano and organ and guest Marilyn Elliott, Tenor Horn

    Programme of Music; (Willson 2900 Euphonium)

    Concerto no.2 in F minor
    Ludwig Milde (1849-1913)
    Originally for Bassoon

    Sicilienne Op. 78
    Gabriel Faure (1845-1924)
    edited by Robin De Smet

    Duet; Fly Me To The Moon
    Bart Howard arranged by Terry Treherne
    with Marilyn Elliott, tenor horn

    Elegy from A Downland Suite
    John Ireland (1879-1962)
    with organ accompaniment arranged by Alec Rowley
    Played on a 1920 Boosey 3v Solbron Euphonium

    Cloud Dancing
    Dean McGain-Harding

    Recital no.64, November 19th. 2016
    with Malcolm Stowell, Piano and organ.

    Programme of Music; (Willson 2900 Euphonium)

    Tarantella Napolitana
    Giochino Rossini (1792-1868)
    arranged by Charley Brighton

    Serenade D.957
    Franz Schubert (1797-1828) arranged by Franz Liszt (1811-1886)
    adapted for Euphonium & piano by Charley Brighton

    Welsh Air- Myfanwy
    Joseph Parry (1841-1903)
    arranged by Denzil Stephens

    Perpetuum Mobile Op. 257
    Johann Strauss II (1825-1899)
    arranged by Charley Brighton

    Jasper's Dance from Pineapple Poll
    Arthur Sullivan (1842-1900)
    arranged for Euphonium & organ by Charley Brighton

    Valse Triste Op.44 no.1
    Jean Sibelius (1865-1957)
    arranged by Friedrich Hermann

    Variations on Long, Long Ago
    Thomas Haynes Bayly (1797-1839)
    arranged by Stanley H. Boddington (1905-1986)

    Recital no.63, August 6th. 2016
    with Malcolm Stowell, Piano and guests Robert Marsh, Trombone, Marilyn Elliott, Tenor Horn

    Programme of Music; (Willson 2900 Euphonium)

    A Song of Faith
    Eric Ball (1903-1989)
    played on a 1980 Imperial Euphonium

    Sonata V
    Johann Ernst Galliard (1687-1747) arranged for trombone by John Clark
    Adagio, Allegro Spiritoso, Alla Siciliano & Allegro Assai
    soloist; Robert Marsh

    Aria de Manon
    Daniel Auber (1782-1871)
    Played on a 1977 Marzan 4v Euphonium

    Duet; Spanish Eyes
    Bert Kaempfert (1923-1980)
    arranged for Tenor Horn & Euphonium by Charley Brighton, based on the arrangement by Ray Woodfield
    with Marilyn Elliott, Tenor Horn

    Chanson Arabe & Danse Orientale from Scheherazade
    Nikolai Rimsky-Korsakov (1844-1908)
    from the violin arrangement of Fritz Kreisler arranged for Euphonium by Charley Brighton

    Recital no.62, May 7th. 2016
    with Malcolm Stowell, Piano and Organ

    Programme of Music;
    Adagio & Tarantella
    Ernesto Cavallini (1807-1874) (originally for clarinet & piano)
    played on a Willson 2900 Euphonium made in Switzerland in 2004

    Serenade op.3
    Josef Suk (1874-1935) (originally for cello & piano)
    played on a Boosey & Hawkes Imperial Euphonium, made in Edgware, London in 1980

    Chants Russes op.29
    Edouard Lalo (1823-1892) with organ accompaniment (originally for cello & piano)
    played on a Boosey & Hawkes Solbron Euphonium, made in Edgware, London in 1940

    Woodland Song
    Eric Ball (1903-1989)
    played on Marzan left facing, front valve action Euphonium, made in Switzerland by Willson in 1977

    Ray Woodfield (b.1931)
    played on a Willson 2900 Euphonium made in Switzerland in 2004

    Recital no.61, February 20th. 2016
    with Malcolm Stowell, Piano and David Abrahams, Euphonium

    Programme of Music; (Wilson 2900 Euphonium)

    Tambourin, Jean-Marie Leclair (1697-1764)
    originally for violin & piano arranged by Geoff. Colmer

    Stuff, Theme & 7 Variations for unaccompanied Euphonium, James Grant
    Theme, Var.1; Lullaby, Var.2; Insistent Var.3; Cartoon Music Var.4; Gregarious Var.5; Urgent Var.6; More Urgent Var.7; Swing It!

    Duet; Ave Maria (with guest David Abrahams), Franz Schubert (1797-1828)
    arranged by John Romeri and Susan Slaughter

    Two Pieces by Ignaz Brull (1846-1907) arranged by Charley Brighton
    Berceuse originally for piano solo
    Scenes Espagnole originally for violin & piano

    There Will Be God, Joy Webb arranged by Richard Phillips
    with organ accompaniment

    Recital no.60, November 28th. 2015
    with Malcolm Stowell, Piano

    Programme of Music; (Wilson 2900 Euphonium)

    Mazurka no.2 op.54
    Benjamin Godard (1849-1895)originally for piano solo
    transcribed from the violin arrangement (Albert Wier) by Charley Brighton

    Andante Cantabile (from String Quartet No.1 in D op.11)
    Tchaikovsky (1840-1893) from the cello arrangement transcribed by Charley Brighton

    Siciliana & Allegro (from Concerto for Oboe) Domenico Cimarosa (1749-1801)
    arranged by Arthur Benjamin transcribed by Charley Brighton

    Bees-a-Buzzin’ Edrich Siebert (1903-1984)
    arranged for Euphonium & piano by Charley Brighton

    You Raise Me Up, Rolf Lovland & Brendan Graham
    arranged by Andrew Duncan with organ accompaniment

    The Song of The Brother, Erik Leidzen (1894-1962)

    Recital no.59, August 8th. 2015
    with Malcolm Stowell, Piano and guests Marilyn Elliott, Tenor Horn and David Taylor, Composer/Piano

    Programme of Music; (Wilson 2900 Euphonium)

    Premiere; Charley’s Rondo, David Taylor (composer at the piano)

    Rondo from the Horn Concerto no.4, W.A. Mozart (1756-1791)
    Soloist; Marilyn Elliott, E flat Tenor Horn

    Premiere (Duet); Nightingales Sang, Manning Sherwin (1902-1974)
    arranged by Charley Brighton

    Harlequin, Philip Sparke (b.1951)

    Recital no.58, May 2nd. 2015

    with Malcolm Stowell, piano, Len Rawle, organ and Sue Brighton, Baritone.
    Programme of Music; (Wilson 2900 Euphonium)
    Concert Polka, Hailstorm, William Rimmer (1861-1936)
    Played on a 1976 Boosey & Hawkes Imperial Euphonium

    Theme from Ladies in Lavender, Nigel Hess (b.1953)
    Played on a 1980's Lafleur Marching Euphonium

    Duet; Last Night of The World, from Miss Saigon
    Claude-Michel Schonberg & Alain Boublil
    With Sue Brighton Baritone & Len Rawle, organ

    Sarabande, Carl Bohm (1844-1920)
    No. 3 of 12 Melodic Studies for Violin & Piano
    Played on a 1957 Martin E flat Sousaphone

    Premiere; Fantasia for Euphonium, Barrie Hingley
    Played on 2004 Willson 2900 Euphonium

    Recital no.57, February 21st. 2015

    with Malcolm Stowell, piano & organ and guest Christopher Mead, Euphonium
    Programme of Music; (Wilson 2900 Euphonium)

    Allegretto Scherzando, movement 3 of Three Intermezzi op.13
    Charles Villiers-Stanford (1852-1924)

    Ballade op. 72 no.1 John Golland (1942-1993)

    Donegal Bay, Paul Lovatt-Cooper (b.1976) Soloist Chris Mead

    Mozart Variations, Mozart arranged by Reynaldo Hahn (1875-1947)
    originally for flute, played on a 1976 Boosey & Hawkes Imperial Euphonium

    Theme from Gabriel's Oboe, Ennio Morricone (with organ accompaniment)
    played on a 1920 Boosey & Co. Solbron Euphonium

    Gypsy Rondo, Haydn (1732-1809) arranged by Charley Brighton

    Recital no.56, November 22nd. 2014

    with Malcolm Stowell, piano & organ and guests David Abrahams & Christopher Mead, Euphoniums
    Programme of Music; (Wilson 2900 Euphonium)

    Introduction & Variations Op.8 (on a theme of Franz Schubert)
    Ferdinand David (1810-1873)

    Great is Thy Faithfulness, Euphonium trio with David Abrahams & Chris Mead
    words by Thomas Chisholm (1866-1960) music by William Runyan (1870-1957)

    Theme from Schindler’s List
    John Williams arranged for Euphonium by Charley Brighton

    Fantasia for Euphonium
    Stephen Bulla (with organ accompaniment)

    Recital no.55, August 16th. 2014
    Programme of music; (willson 2900 Euphonium)

    Allegro Animato, movement 2 of Sonata for Clarinet (1921)
    Camille Saint-Saens (1835-1921)
    Played on a 1920 Besson 4v Enharmonic Euphonium

    Deep River Op.59 no.10 from 24 Negro Melodies for piano (1905)
    Samuel Coleridge Taylor (1875-1912)

    Finale from Sonata no. 2, for French Horn (1802)
    Luigi Cherubini (1760-1842)
    (played on a 1957 Martin (USA) Sousaphone)

    Prayer, for cello, from Jewish Life, no.1 (1924)
    Ernest Bloch (1880-1959) (with organ accompaniment)
    Played on a 1980 Imperial Euphonium

    Liebesleid, for violin
    Fritz Kreisler (1875-1962)
    Played on a Lafleur Marching Euphonium

    Czardas, for soprano voice, Act II Die Fledermaus (1874)
    Johann Strauss II (1825-1899)

    Recital no.54, May 3rd. 2014
    with guests Robert Marsh (trombone) and David Taylor (piano)

    Programme of Music; (Willson 2900 Euphonium)

    Rondo Op.94, Antonin Dvorak (1841-1904)
    (originally for cello adapted for Euphonium by Charley Brighton)

    Norwegian Dance no.2 Op.35, Edward Grieg (1843-1907)
    (originally for piano solo adapted for tuba by Charley Brighton)
    Played on a 1957 Martin USA Sousaphone

    Premiere; Concertino for Trombone, David Taylor
    Performed by Robert Marsh with the composer at the piano

    Compelled by Love, Andrew Blyth (with organ accompaniment)

    Recital no.53, February 15th. 2014
    with Malcolm Stowell, piano & organ
    Programme of Music; (Willson 2900 Euphonium)

    Premiere; Sonata in G Major, Jean Baptiste Senallie (1687-1730)
    (originally for violin, adapted for Euphonium by Charley Brighton)
    1. Prelude - adagio
    2. Courante - allegro
    3. Sarabande - largo
    4. Finale - allegro

    Forlana from Five Bagatelles, Gerald Finzi (1901-1956)
    (originally for clarinet, adapted for Euphonium by Charley Brighton)

    Donegal Bay, Paul Lovatt - Cooper (b.1976)
    (with organ accompaniment from the piano arrangement by Judith Hayes)

    Premiere: A Lyric Suite, Edvard Grieg (1843 – 1907)
    (from the original piano suites arranged for Euphonium by Charley Brighton)
    1. Waltz Op.12 no.2
    2. The Solitary Traveller Op.43 no. 18
    3. March of the Dwarfs Op. 54 no.3

    Recital no.52, November 23rd. 2013
    with Malcolm Stowell, piano & organ
    Programme of Music; (Willson 2900 Euphonium)

    Suite from The Victorian Kitchen Garden
    Paul Reade (1943-1997) (originally for clarinet) 1. Prelude, Andante Pastorale
    2. Spring, Allegretto
    5. Summer, Flowing

    Cantabile Op.17 (Originally for violin & guitar)
    Niccolo Paganini (1782-1840) arranged by Goff Richards

    Pierre Francois Fernand Goeyens (1892-1965)
    (with organ accompaniment)

    Romanze (1902) (Originally for violin or cello & piano)
    Max Reger (1873-1916)

    The Blue Bells of Scotland
    (composed 1901, published 1904)
    Arthur Pryor (1870-1942)
    Introduction, theme & variations

    Recital no.51, August 17th. 2013
    with Malcolm Stowell, piano & organ
    Programme of Music; (Willson 2900 Euphonium unless stated)

    2 Movements from Sonatina, Andantino Cantabile & Rondo
    Anton Diabelli (1781-1858)
    (played on 2 vintage Euphoniums)

    Song for Ina
    Philip Sparke
    (played on a 1980 Boosey & Hawkes Imperial Euphonium)

    Sometimes I feel Like a Motherless Child
    spiritual arranged by Bill Charleson
    (played on a 1982 Lafleur Marching Euphonium)

    Andante & Allegro (from Flute Sonata)
    Handel arranged by Thomas Wyss
    (played on a 1957 Martin E flat Sousaphone)

    Adagio from String Quartet
    Heinrich Josef Baermann
    with organ accompaniment

    Carmen Fantasy (originally for violin)
    Franz Drdla (1868-1944)
    Aragonaise, Seguedille & Danse Boheme, adapted for Euphonium by Charley Brighton

    Celebration Recital no.50, May 4th. 2013
    with Malcolm Stowell, piano & organ
    Programme of Music; (Willson 2900 Euphonium unless stated)

    Premiere; Spring Rhapsody, Esther Hopkins

    Premiere; La Danse des Papillons, Robert Steadman

    Premiere; Brighton Rock, Jamie McVicar
    played on a Lafleur 3 valve marching Euphonium

    The Trouble With The Tuba Is………………William Relton
    played on a 1957 Martin USA Sousaphone

    Andantino non troppo, from the overture Le Roi D’ys, Edouard Lalo
    arranged for Euphonium & organ by Charley Brighton

    Maria & Tonight From West Side Story, Leonard Bernstein
    played on a Boosey & Hawkes Imperial Euphonium, Salvation Army Bandmaster Euphonium, Besson Enharmonic Euphonium & Willson 2900 Euphonium

    "Thank you Charley, it was a wonderful concert!
    Thank you to you and to Malcolm. Very much enjoyed listening to all the great new pieces.
    Esther Hopkins, composer

    "Well done on a tremendous recital!
    It would be good for all three premiered pieces to get some more outings.
    Robert Steadman, composer

    "Thanks Charley for a great recital! Well worth the 5.30am start. Hope to see you in Edinburgh soon.
    Jamie McVicar, composer

    Recital no.49, February 16th. 2013
    with James Paget, piano & organ
    Programme of Music; (Willson 2900 Euphonium unless stated)

    Poemes Hongroise op.27 no.1
    Jeno Hubay (1858-1937)

    Berceuse op.40 no.2
    Amy Marcy Cheney Beach (1867-1944)
    Played on a 1920's Besson 4v Enharmonic Euphonium

    Prelude on Down Ampney
    from the arrangement for cello & organ by Elizabeth Bryan & John Belcher
    Played on a 1947 B&H Imperial Euphonium

    arranged by Gordon Carr
    Played on a 1957 Martin USA 3v E flat Sousaphone

    Beautiful Colorado
    Joseph De Luca (1890-1935)
    Accompaniment arranged by Roy Newsome

    Recital no.48, November 17th. 2012
    with Malcolm Stowell, piano & organ
    Programme of Music; (Willson 2900 Euphonium)

    Euphoria, Alwyn Green

    Ballade Op.31, Carl Matys (1835-1908) originally for cello

    Folk Tune (from 5 Short Pieces) Percy Whitlock (1903-1946)
    arranged by Elizabreth Bryan & John Belcher with organ accompaniment
    played on a 1980 Boosey & Hawkes Imperial Euphonium

    Demelza, Hugh Nash (Goff Richards)
    played on an 1891 Highams 5 valve Euphonium

    Dance of the Comedians (from The Bartered Bride) Bedrich Smetana (1824-1884) arranged by Rafael Mendez

    "I really like your beautiful phrasing - you've given the piece some lovely quality.
    Thanks very much for playing it and for the work you had obviously put in to prepare it. It's much appreciated as was your excellent interpretation. Please pass my apologies to the accompanist for the awkward passages, the pianist always seems to get a raw deal in brass accompaniments. Sometimes the piano part can be even more awkward than the solo part.
    Thanks for playing it so musically."
    Alwyn Green, composer

    Recital no. 47, August 18th. 2012.
    Programme of Music;
    (Willson 2900 Euphonium unless stated)
    with Malcolm Stowell, piano & organ

    Elfentanz (Dance of the Fairies) Ezra Jenkinson (1872-1947)
    arranged & edited by Robert Childs & Philip Wilby

    Album Leaves opus 51 no.9, Reinhold Gliere (1875-1956)

    Nocturne opus 7, Franz Strauss (1822-1905)

    Sentimentale no.1; Colonial Song, Percy Grainger (1882-1961)
    with organ accompaniment transcribed by Orivil Ross

    Travelling Along, Chris Mallett transcribed by Derick Kane

    Recital no. 46, May 5th. 2012.
    Programme of Music;
    (Willson 2900 Euphonium unless stated)
    with Malcolm Stowell, piano & organ

    Hommage A Bach
    Eugene Joseph Bozza (1905-1991) with organ accompaniment

    2 unaccompanied Bach Duets
    with Martin Harvey - Euphonium

    Premiere; Reflections, based on the hymn tune Fewster by Terry Treherne
    with Sue Brighton - Baritone

    Serenade from The Student Prince
    Sigmund Romberg (1887-1951)
    played on a Highams 1891 5v Euphonium

    Charles Marie-Widor (1844-1937)
    played on a Martin 1957 Sousaphone

    Two Part Invention
    Philip Sparke (b.1951) with Martin Harvey Euphonium

    Recital no. 45, February 18th. 2012.
    Programme of Music;
    (Willson 2900 Euphonium unless stated)
    with Malcolm Stowell, piano & organ

    A Choir of Angels
    Cecilia McDowall (with organ accompaniment)

    Album Leaves op.51 no.10
    Reinhold Gliere (1875-1956)

    Premiere; In Memoriam
    Yvonne Anthony

    Andante & Bolero
    Santana Gomes (1834-1908)

    Czardas no.2
    Vittorio Monti (1868-1922) arranged by John Fairhead

    "Dear Charley, How very nice to be in touch! That’s lovely that you are playing a piece from Framed and that you have already done so
    with Choir of Angels - have just had a listen and it sounds great! Nice ending, too!
    I hope to hear you at another time,
    With very best wishes, Cecilia McDowall, Composer.

    "Hello Charley. Well, you did a lovely job of the "In Memoriam". Please thank Malcolm for me, a very sensitive rendering.
    I'm glad the applause was not "polite"! It sounded as though the audience were genuinely taken by the music and the reformance.
    The last note is a ripper! I wonder if I might write something for euphonium & baritone, if Sue is interested?
    Any particular style or event that springs to mind?
    Much love and thanks, Yvonne Anthony, Composer.

    Recital no. 44, November 19th. 2011.
    Programme of Music;
    (Willson 2900 Euphonium unless stated)
    with Malcolm Stowell, piano & organ

    Premiere; Celebration
    Terry Treherne, composed for the launch of the new 2011 Willson UK model Euphoniums
    Movement 1; Maestoso
    Movement 2; Intermezzo, allegretto
    Movement 3; Andante con espressivo
    Movement 4; Finale, Allegro Spiritoso

    Winter's Meditation
    Phillip S. Hall

    Sanae Kanda
    Played on a 1912 Hawkes 4v Cavalry Tuba

    Variations on Amazing Grace, (with organ) Hans Uwe Hielscher
    using different vintage model Euphoniums

    "Thank you for sending us your recording of yesterday's concert.I am glad I could help, by putting you in contact with Sally, who was pleased to be able to provide you with your notes for "Pip's" Solo "Winter Reflections". It is lovely relaxing, descriptive piece, piece and you played it really well. I am sure the audience yesterday really liked it's inclusion in your excellent recital. I have listened to the whole concert and it is really good, with a varied repertoire, that must have been really satisfying to all those present. Also I am sure Sally will like it and I was pleased to help you get in contact with her after all these years. It is a tribute to the happy memories and high esteem, that we still hold for "Pip" today. Keep up the good work Charley."
    Paul Homewood

    "Absolutately brilliant!. Many thanks for making this music sound so good, and as always your sound quality is tremendous especially in the third movement. Please thank Malcolm for playing the accompaniment so very well.
    He has a marvellous touch and I do like his interpretation."

    Terry Treherne, composer

    "Thank you for sharing the recording of your wonderful performance of my variations. I was amazed how lively the movements came out on the various Euphoniums. I have sent the recording to some American friends, one a Euphonium player, to encourage him to perform it too.
    Please extend my gratitude to your accompanist who also did a great job on the organ."

    Hans Uwe Hielscher, composer

    Recital no. 43, August 27th. 2011.

    Programme of Music; (Willson 2900 Euphonium unless stated)
    with Malcolm Stowell, piano & organ

    3 Movements from Suite Antique;
    Prelude, Aria & Chanson, John Rutter (originally for flute).
    Each movement features a classic Euphonium, including a 1964 Salvation Army Super Triumphonic 4v Euphonium
    a 1947 Salvation Army Bandmaster 4v Euphonium and a 1905 Besson Zephyr 5v Euphonium

    Song of The Seashore trad. arranged by Alan Catherall, piano accompaniment arranged by Michael Hopkinson
    played on a 1958 Martin (USA) 3v E flat Sousaphone

    Symphonic Rhapsody for Euphonium, Edward Gregson (with organ)
    accompaniment arranged by Brian Bowen

    Recital no. 42, May 14th. 2011.
    Programme of Music;
    Willson 2900 unless stated
    with Malcolm Stowell, Piano & Organ

    From The Heart, Barry Gott

    Nocturne, John Field (originally for piano)
    Transcription for oboe (1946) by Evelyn Rothwell
    Accompaniment arranged by Alfonso Gibilaro

    Anthem from Chess, Benny Anderson/Bjorn Ulvaeus (with organ accompaniment)

    Romanze, Heinz Both transcribed by Charley Brighton (played on a 1954 Martin (USA) E flat Sousaphone)

    Midnight Euphonium, Goff Richards

    Tico Tico, Zequinha Abreu arranged by John Iveson

    Recital no. 41, February 26th. 2011.
    Programme of Music;
    Willson 2900 unless stated
    with James Paget, Piano and guest Jonathan Sproule, Euphonium, Royal Logistics Corps Band

    Premier (this version) Czardas, Keri Degg

    Song of The Hills, from Three Hill Songs, Micheal Head arranged by Charley Brighton
    Played on a 1920's Besson 4v Enharmonic Euphonium

    Duet; Euphony, Denzil Stephens
    With Jonathan Sproule (lead) and myself (Boosey & Hawkes Imperial Euphonium)

    Concerto Pour La Fin D'un Amour, Francis Lais arranged by Charley Brighton

    Variations on Country Gardens, traditional
    arranged by Ken Garfield, adapted for tuba by Charley Brighton
    played on a 1912 Hawkes 4v Cavalry Tuba

    Bravo! Well done to you and also your accompanist. I find Czardas reasonably challenging on a Clarinet which is far more manageable than a brass instrument I feel so I take my hat off to you! I really enjoyed listening to the recording and am glad that you captured both the slushy moments in addition to the cheeky flighty passages.
    All the best for your future recitals, and i'll let you know if I write something specifically for brass.
    Keri Degg composer

    Thanks for the recording. It brought back memories of Geoffrey Witham and I playing this. I really had forgotten all about the piece.
    I think you are doing a great job with all your recitals, and long may you be able to keep it up.
    Denzil Stephens composer

    Recital no. 40, November 20th. 2010.
    Programme of Music;
    Willson 2900 unless stated
    with Malcolm Stowell, Piano & Organ

    The Cavalier
    E. Sutton arranged by Drake Rimmer
    Played on a 1980's Imperial Euphonium

    Premiere; Be Well
    Terry Treherne, dedicated to Joe Miserendino (1932-2010)

    Gira Con Me
    David Foster & Walter Afanasieff arranged by Simon Wood
    Played on a 1920 Boosey 3v Solbron Euphonium

    Return to Sorrento
    Ernesto De Curtis (1875-1937) arranged by Stephen Roberts
    Played on a Hawkes 1912 4v Cavalry Tuba

    Slavische Fantasy (1899)
    Carl Hohne (1870-1930), with organ accompaniment

    I am so pleased to hear that you had a good recital on Saturday and "Be Well" was a success. Having just listened to the performance, I am so grateful to you and Malcolm for an excellent rendition of this little piece. I do very much like your interpretation and the delicate accompaniment provided by Malcolm. Over the years I feel that your tone quality has greatly improved and playing a Willson euphonium certainly does justice to lyrical sounds like those included in this music. I am sure Joe would have written a very encouraging review on the Acidplanet website and he would have made special mention of your lovely top C at the end. Please convey my thanks to Malcolm.
    Terry Treherne composer.

    Recital no. 39, August 14th. 2010.
    Programme of Music;
    Willson 2900 unless stated
    with James Pagett, Piano

    Fantasy for Euphonium, Francois Glorieux

    Premiere; Moving, Andrea Ferrante

    Tribute; Aragonaise, Joe Miserendino (1932-2010)
    (Played on a 1930's Conn 3 valve Euphonium)

    Comfort My People
    (themes from Isaiah 40) Robert Redhead

    Caprice, Zelda, Percy Code
    (Played on a Boosey & Hawkes 1980's 4v Imperial Euphonium)

    Recital no. 38, May 1st. 2010.
    Programme of Music;
    Willson 2900 unless stated

    Three Sonatas
    Johann Ernst Galliard (1687-1749)
    spiritoso e staccato, hornpipe a l’Inglese, vivace
    Played on an 1891 Highams of Manchester 5 valve Euphonium

    My Love is Like a Red, Red Rose, traditional (circa 1794) arranged by Kenneth Downie

    Duet; Calon Lan
    John Hughes (1872-1914) arranged by Eric Ball, with guest Tim Parker, Euphonium

    Modest Petrovitch Moussorgsky arranged by Paul Archibald
    (played on a 1912 Hawkes 4v Cavalry Tuba)

    with organ accompaniment; Minuet
    (from The Fair Maid of Perth & L’Arlesienne Suite no.2) Georges Bizet (1838-1875)
    (Played on a 1980’s B & H Imperial 4v Euphonium)

    Capriccio Espagnol
    Nicolai Rimsky-Korsakov (1844-1908) arranged by Paul Archibald
    vivo, andante con moto & vivo e strepitoso

    Recital no. 37, February 22nd. 2010.
    Programme of Music;
    Willson 2900 unless stated

    Premiere; If, Edward Messerschmidt, USA

    Valse op.69 no.1, Chopin (1810-1849) adapted for Euphonium by Charley Brighton

    Duet; The Mill Pond, with guest Rosie Ellis, Euphonium, Terry Treherne

    Premiere; Little Serenade, Lorenzo Melissano (played on a 1912 Hawkes 4v Cavalry Tuba)

    with organ accompaniment;
    Berceuse op.13 no.7 (from the Suite; Noure and Anitra) Alexander Ilyinsky (1859-1920)
    Petites Litanies de Jesus (from 8 Pieces for Piano) Gabriel Grovlez (1979-1944)
    both adapted for Euphonium by Charley Brighton

    Comin’ Thro’ The Rye, theme & variations by E. S. Thornton (originally for Clarinet)

    "Thank you so much for sending this recording so quickly! I'm out of town, so I just listened to it and it sounded great!
    Fantastic job, and Malcolm sounded great too. I'll be very fortunate to have such a good recording when trying to encourage others to play the piece. Thanks again, and I'll try to write some more for a trilogy of euphonium solos as soon as I have time!"

    Edward Messerschmidt composer, USA.

    "Thank you so very much for featuring and playing so very well "The Mill Pond".
    Rosie plays beautifully, a lovely full and melodious sound very much complimenting your own distinctive style. As always, I was very impressed and moved by this fine performance.
    Glad to hear the recital went well and I shall look forward to hearing the rest of it in due course."

    Terry Treherne composer.

    "Great great great!"
    Lorenzo Melissano composer, Italy

    Recital no. 36, November 21st. 2009.
    Programme of Music;
    Willson 2900 unless stated

    Song Without Words (originally for violin, 1898), Edward German (1862-1936)

    Premiere (brass version); Soliloquy Triste, Joe Miserendino, played on a 1912 Hawkes 4v Cavalry Tuba

    Ave Maria, Anton Bruckner (1824-1896) with organ accompaniment

    Premiere; Lyrical Melody (2008), Dave Collins

    Finale; Allegro Guerriero, from the Fantasia on Scottish Folk-Melodies op.46, Max Bruch arranged by William Rose

    "Thank you Charley. I could hear Hamlet singing his sad aria (a bass of course). The brass bass does give it a special quality.
    As usual well done. Marriage hasn't hurt you a bit."

    Joe Miserendino,
    composer, USA.

    "I thought you played it really nicely, very smooth and flowing as suggested in the title, just the style that I was hoping for.
    I liked the rits into the main sections which helped to draw out the emotion from the music. It sounded effortless but I am sure that it wasn’t.
    Again thank you so much for the opportunity to perform my music - it was so fantastic to hear it and I would have loved to be able to get down to see it but hey - there is always next time!"

    Dave Collins composer.

    Recital no. 35, August 22nd. 2009.
    Programme of Music;
    Willson 2900 unless stated

    Concerto for Bassoon, Franz Ignaz Danzi (1763-1856), Finale-Polacca

    Deep Inside the Sacred Temple
    Duet from The Pearl Fishers, Georges Bizet (1838-1875), arranged by Keith Wilkinson
    with guest Helen Hobson, (played on a B&H Imperial Euphonium, circa 1980)

    Serenade (from The Wand of Youth Suite no.1), Edward Elgar (1857-1934)
    (Played on a Hawkes 1912 Cavalry 4v Tuba)

    Peace, John Golland (1942-1993) with organ accompaniment
    (Played on a Besson Zephyr 1905 5 valve euphonium)

    Premiere; A Summer Suite (Sunday Afternoon in the Park), Joe Miserendino (USA)
    Waltz – Ballade – Virtuosity
    (each mov. to be played on a different vintage euphonium)
    "Thank you to Charley and Malcolm for such an excellent and sensitive performance of my little romance.
    I especially like the interpretive nuances you each used to enhance the music, and bring out the nostalgic "summer concert in the park" I envisioned when I wrote the piece. As composers it is always a pleasure to know we turn our creations over to excellent caring artists."

    Joe Miserendino, composer, USA.

    Recital no. 34, May 2nd. 2009.
    Programme of Music;
    Willson 2900 unless stated

    Scherzo for Bassoon & Piano, Oleg Viiorovich Mirochnikov
    (Played on a Boosey & Hawkes Imperial 4v compensating Euphonium,circa 1980)

    Sonata for Oboe & Piano, movement 2, Camille Saint-Seans (1835-1921)
    (played on a Willson 2900 4v Euphonium 2004)

    Premiere; The Mill Pond, Terry Treherne
    duet for Baritone & Euphonium with guest Susan Vel
    (Played on a Conn 1933 3v Euphonium)

    Pastoral Tune, Keith J. Robinson (USA)
    (Played on a Hawkes 1912 4v Cavalry Tuba)

    Premiere; Centurion, Lorenzo Melissano (Italy)
    (Played on a Willson 2900 4v compensating Euphonium, 2004)

    "Thank you to Charley, Sue and Malcolm for playing this little duet in such a sensitive way.
    It is exactly what I had in mind when composing this piece.
    The main original theme, which was originally a children's song set to the words of "There is a Green Hill", is full of expression."

    Terry Treherne composer

    "Dear Charley, I send you my compliments for the wonderful interpretation of CENTURION.
    You have interpreted the song with elegance and musicality. My compliments to your pianist Malcolm Stowell."

    Lorenzo Melissano composer, Italy

    Recital no. 33, February 21st. 2009.
    Programme of Music;
    Willson 2900 unless stated

    Russian Dance, Op.32, Oskar Bohme (1870-1938)

    Duet; Simplicity, Terry Treherne (with guest Iain Brunt, Trumpet)

    Premiere; Musing, Joe Miserendino USA

    Variations on The New World Symphony, Antonin Dvorak arranged by James Woodward USA
    with organ accompaniment

    Berceuse de Jocelyn, Benjamin Godard (1849-1895) adapted from the original version for piano

    "Beautifully played, thank you so much Charley and Malcolm.Your performance made me realize how much I liked this little piece
    - I wrote the notes - you two gave it life and beauty."
    Joe Miserendino, composer, USA

    "Fantastic!, what a wonderful performance of this music. I am really thrilled with your interpretation and also Malcolm's brilliant piano accompaniment. When composing this piece I did not imagine it would be performed so soon and, as always, it has inspired me to write even more challenging solo works for you knowing that you and Malcolm bring the music alive. Thank you so very much for your continuing encouragement."
    Terry Treherne, composer.

    Recital no. 32, November 22nd. 2008.
    Programme of Music;
    Willson 2900 unless stated

    Sonata for Bassoon op. 168, C. Saint-Seans

    Cradle Song, John Ireland
    (played on a 1933 Conn Pan American Euphonium)

    Premiere; Tranquillity, Terry Treherne (with organ accompaniment)

    Romance, from Susanna's Secret, Wolf-Ferrari (played on a Hawkes 1912 Cavalry 4v tuba)

    Premiere; Brief Interlude, Joe Miserendino

    Polka Caprice, Lucille, Percy Code
    (played on a 1980's Boosey & Hawkes Imperial Euphonium)

    and at 7pm All Saints Wokingham;
    Programme of Music; (Willson 2900 Euphonium unless stated)

    Aragonaise, Joe Miserendino (USA)

    Premiere; Sonata for Euphonium, Elaine Fine (USA)

    Sunrise, Sunset, Jerry Bock arranged by Adam Gorb (played on a 1933 Conn Pan American Euphonium)

    Tranquillity (with organ accompaniment)
    Terry Treherne

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

    Aka Tombo, Kosaku Yamada arranged by Philip Kim (played on a Highams 1891 5 valve Euphonium)

    Valse Brillante; Silver Showers, William Rimmer (played on a 1980's Boosey & Hawkes Imperial Euphonium)

    Maria & Tonight from West Side Story, Leonard Bernstein

    "Dear Charley, Thanks for the great performance! I forgot how totally neo-classical the piece is, and you both certainly got the true spirit of the piece. I love everything you did with it, especially the little pause beforethe major section in the last movement
    and the give and take in the second movement. I would love to put this performance on the a page they made for me at the Werner-Icking Archive. Thanks again."
    Elaine Fine, composer, USA.

    "Thank you. Charley and Malcolm for a lovely and sensitive performance of my little bagatelle. You made it sound better than I envisioned. Again, thank you."
    Joe Miserendino, composer, USA.

    "Hi Charley, what a thrill it was to hear your two wonderful recitals last Saturday. It was for me a dream come true, as at one time I never thought it would be possible for me to hear a live performance of Tranquillity.
    When laying in hospital I kept thinking of all the opportunities you have given me and I so very much appreciate the way both you and Malcolm perform my music with perfection. I shall enjoy recapturing the high standard
    of your musicianship by listening to the recordings many times. Please convey my thanks to Malcolm."
    Terry Treherne, composer.

    Recital no. 31, August 2nd. 2008.
    Programme of Music; Willson 2900 unless stated

    Intrada, Sicilienne & Minuet, David Thorne (with organ accompaniment)
    Played on a Besson 1908 Enharmonic 3v Euphonium

    Adagio, Henri Casadesus, from the clarinet transcription by V. Gensler
    Played on a 1980's Imperial 4v Euphonium

    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 Emperor 4v Cavalry Tuba

    Premiere; Masquerade, Lorenzo Melissano (Italy)

    "Hello Maestro, I offer my compliments for the concert. My congratulations to you for Masquerade, for your elegant sound and in your cantabile and virtuosity of playing. This greeting With all my esteem.
    Masquerade is my first composition for the Euphonium."
    Lorenzo Melissano Italy

    "Thank you for emailing your performance of my manuscript and also my thanks to your organist. It is very much appreciated. Once again a big thank you for sending me the recording".
    David Thorne

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

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

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

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

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

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

    "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)

    Premiere (this version), Romance, Gunther Johannes Schmidt (originally for Flute)
    "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)

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

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

    Variations on The Mountains of Mourne, Roy Newsome

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

    Premiere; Cloud Nine, Darrol Barry

    Contemplation, Denzil Stephens

    Premiere; Aragonaise, Joe Miserendino

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

    Concertante, Gustav Holst, with organ accompaniment
    (Originally for trombone & organ, 1894)
    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)

    UK Premier Little Suite for Unaccompanied Euphonium, Elaine Fine (USA)
    Preludio, Reverie & Puppet Dance
    "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

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

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

    Theme & Variations on Arabella, Barrie Chester

    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

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

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

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

    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

    Premiere; Diversions, Edward D. Messerschmidt (USA)

    Premiere; Theme & Variations, Michael Iles

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

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

    "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

    Premiere; Rondo Divertimento, Joe Miserendino, USA

    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

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

    "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

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

    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.

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

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

    Rhapsody for Euphonium, James Curnow, with organ accompaniment.

    "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

    Premiere; Lament, movement 2 of Concerto for Euphonium, Kenneth D. Friedrich (U.S.A.)

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

    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.

    Premiere; Concertante for Euphonium, Terry Treherne.

    "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
    Premiere; Concerto for Euphonium, Kenneth D. Friedrich
    movement 1, Leggiero

    Serenade, Op.3 no.5, Rachmaninov
    from the clarinet transcription by Zoltan Kocsis

    Dancing Night Wind, David Benning
    for unaccompanied solo instrument

    Improvisation, (to Edith Piaf), Francis Poulenc
    played on a
    French Besson 3 valve Euphonium, circa 1915

    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

    "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)

    Clarinet Variations on Long, Long Ago
    arranged by Reinhold Ritter, op.12

    Adagietto, from Symphony no.5, Gustav Mahler
    with organ accompaniment

    The Clockmaker, Michael J.D. Roberts
    (originally for Violin)

    Variations on America, Charles Ives
    with organ accompaniment

    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.

    "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.

    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.

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

    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

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

    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;

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

    The Southern Cross, Herbert L. Clarke.

    "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 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 (USA).

    Recital no.12, December 13th. 2003.
    Programme of Music; (Played on a Willson 2900 Euphonium except where stated)

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

    Prelude op.28 no.6, Fr. Chopin

    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)

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

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

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

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

    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 organ)

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

    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)

    Soliloquy, Tim Foxon (Premier)

    Solo Rhapsody, Denzil Stephens (with 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
    Programme of Music; (Played on a Willson 2900 Euphonium except where stated)

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

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

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

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

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

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

    Rule Britannia, John Hartmann.

    Ave Maria, Bach / Gounod.

    Ave Maria, Bruckner

    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;


    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)


    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


    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


    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


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


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


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


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


    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


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


    Kim, Street
    Kiss of Light, Anthony


    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


    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


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


    O Holy Night, Adam
    Old Folks at Home, Foster


    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


    Queen of the Night's Aria, Mozart


    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


    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


    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)


    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


    Waltz for Danielle, Boniface
    Weber's Last Waltz, Rimmer
    Willson Concertante
    Winter (duet), Raybould
    Winter's Meditation, Hall
    Woodland Song, Ball


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


    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