David Childs opens the Aberdeen University Concert Series 

On Monday 18th September David Childs flew with pianist Christopher Williams to Aberdeen at the invitation of Professor Paul Mealor to give a solo recital that opened the 2017-2018 University Concert Series. Speaking about the event David commented, "Having worked with Paul for the premiere of his Euphonium Concerto at the Welsh Proms earlier this summer, I was thrilled to be invited to give the opening recital of his University Concert Series. It was a lovely event, and it's always a pleasure to perform with Chris, particularly in such a welcoming setting."  

The recital was certainly appreciated by the audience in attendance at St. Machar's Cathedral with one reviewer stating, "The brand new season of University Concerts powered off to a sensational start with a mind-blowing performance by euphonium virtuoso David Childs. He was supported by an equally gifted piano accompanist Christopher Williams. As the first sentence in the programme claimed, 'David Childs is regarded as one of the finest brass musicians of his generation.' He was definitely every bit of that – and then some! We heard a truly dazzling performance."  

The two hour recital programme was divided in two halves with the first containing classical arrangements and original contemporary works for euphonium including: Zigeunerweisen (Gypsy Airs) by Pablo Sarasate, two movements from Sir Karl Jenkins' Concerto for euphonium, Maurice Ravel’s Pièce en forme de habanera, Fantasy by Johann Nepomuk Hummel and Due Tramonti by Ludovico Einaudi. The second half showcased David's brass band heritage with virtuosic air varies and gorgeous melodies. Before the concert, Pauline Black led a discussion with David Childs with enthusiastic questions from members of the audience, many of whom were young brass players, whose jaws physically dropped in admiration of the stunning playing on show in the recital itself. During this pre-concert talk, mention was made of a piece by Paul Mealor that David had performed in New York's Carnegie Hall earlier in the year. It was this work, Welsh Prayer that the audience was treated to when demanding an encore piece. Caressingly tuneful, it was a perfect ending to a concert in which melody was king throughout.      

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