Peter Meechan's eponymous modern take on the 'air varie' solo begins David Thornton's album with a mixture of dazzling tricks and expressive lyricism. There is wit in Devil's Duel as well as the macabre. In it's higher registers, the euphonium can take on the poignancy of the human voice. John Stevens' haunting Benediction for tuba quartet is a prime example.

Meechan also provides one of the two major offerings. Requiem Paraphrases was composed originally for euphonium and brass ensemble. The Requiem is Mozart's and Meechan uses the famous opening bars - but not as an exercise in pastiche. This is a well imagined work, exhilaratingly played by soloist and band.

David Thornton invests the abstract passages of Philip Wilby's Concerto with clarity and intelligence. The Greek Dance drives along at a hectic pace, but the rhythmic profile and harmonic direction is never sacrificed to speed for its own sake. Thornton reveals all his expressive subtleties in the slow movement, with its references to the hymn When I Survey The Wondrous Cross.

Meechan's quirky arrangement of a J.S. Bach Flute Sonata works rather well, but Chopin's Etude No. 3 and Joy Webb's There Will Be God (both beautifully played) feel somewhat out of place in this context. Not so Andy Scott's summer impression 'My Mountain Top', where euphonium soloist and the words of Lemn Sissay combine to provide an evocative finale.

Paul Hindmarsh
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