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4 of 4 people found the following review helpful:
Morgan Griffiths shows us how it's done, 13 Feb 2001
By A Customer
This took its time! Morgan Griffiths is one of Britain's finest Euphonium players. This album is, however, worth the wait. Whilst the programme is neither relentlessly contemporary or filled with new recordings, Morgan Griffiths manages to inflect some tried and trusted solos - Rule Britannia, Largo al Factotum - with new freshness and musicality. The three substantial works present, by Redhead, Fernie and Gregson are all immaculately played and developed with real musical insight. What makes this recording so appealing to me at least, is the lack of forced showmanship that so many modern euphonium players feel the need to adopt. Griffiths emerges from this recording with his reputation as a real "old school" style player intact, or perhaps even enhanced. Some more well known players might do well to emulate this style of playing, and serve the music instead of serving their careers.The newer music featured on the album includes the gorgeous The Holy Well by Peter Graham. This was adapted from his monumental test piece On Alderly Edge, and has one of the most memorable melodies of recent years. This for me is the highlight of the album. Full of Ritenutos and Rubato passages, it allows the soloist to exploit whatever musical ideas he or she might have, and of course Griffiths makes this piece sound much easier than it actually is, surely the sign of a virtuoso. It also highlights Griffiths' superb ability to play sustained quiet passages, an ability which is very much underused in modern brass music. Other pieces that benefit from Griffiths' approach include Rachmaninov's Vocalise (originally a Song Without Words) and Mario Lanza's Be My Love, which was arranged by Ray Farr. It is clear from the selection of music on offer on this album, that Griffiths is no musical athlete, interested only in amazing his audiences with his technical prowess. An hour of fireworks is never pleasant to sit through, but an hour of music of this quality, passes in no time at all, and constantly I am struck by the refinement and sensitivity on display, not only by Griffiths himself, but by his accompanying band, The Yorkshire Building Society Band, conducted by David King.
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