You’ve been a patient parcel sitting tight for our rundown of who we think have been the best euphonium players of the banding development, yet now the time has come to uncover our rundown.
We went poorly this aimlessly and along these lines we solicited one from the most regarded, and voluntarily, a standout amongst the most splendid euphonium players himself, to give us his decision. There were no guidelines that we set, however our adjudicator believed that to be as reasonable as could be allowed, he would pick players who he felt were the best of their time – from the earliest starting point of the twentieth Century to it’s end. They are consequently in sequential request and not as an impression of any one player being superior to another.
These players are in this way the decision of Geoffrey Whitham, ex essential Euphonium of Black Dyke Mills Band, and the player who’s execution at the 1959 National Finals on “Le Roi d’Y’s” is as yet talked with in wonder.
Phineas Bower was conceived in Queensbury (the home of the Black Dyke Band) and was the most acclaimed player of his time. He was the performance euphonium at Dyke from the age of 20 out of 1867 – a position he held until 1894.
Such was his ability that at the 1873 Belle Vue Contest that he won both the performance prizes for euphonium and trombone – an outcome that prompted the run change to stop players performing on more than one instrument at any given moment on the challenging stage.
In 1895 he began the Black Dyke Junior Band in the wake of getting to be in 1875 the bandmaster at Dyke itself. The main genuine whiz player of the banding scene.
When regarding numbers, metal groups were at their pinnacle, the Besses O’ th’ Barn band left upon World Tours, for example, in 1907 when they went by Australia. The performance euphonium was Scott, the primary stand up solo employing euphonium the banding scene had truly ever observed.
His effect was massive, as his style of playing owed much to what he had known about acclaimed artists of the time, for example, Caruso, and his expressive playing and wonderful full tone were a disclosure. He was conceived around 1880 in the Boarshurst zone and passed on in 1932 – his notoriety fixed and in place. A photo of him is to be seen at the Boarshurst bandroom right up ’til today.
Sullivan was conceived in Glasgow and for the time of the 1920’s onwards was viewed as the finest player of his era. He was likewise one of the hardest men ever to get a melodic instrument, as he had been an exceptionally fruitful novice boxer – to such an extent that he had more than 80 battles and was viewed as one of the best lightweight boxers of the period.
His childhood was poor (he had no shoes on his feet until a ways into his teenagers), however his playing was as rich in quality as anybody earlier or since. He had periods playing with many groups, including the acclaimed St. Hilda’s Colliery, the Gwaun cae Gurwen band in Wales, Horwich RMI and obviously with Munn and Feltons, where he joined filling in as a straightforward foreman with his euphonium playing.
Like both of his siblings and his dad, Alex Mortimer’s name will ever be related with astonishing accomplishments inside the banding scene. Conceived in Hebden Bridge, he initially came to conspicuousness as a player with the Luton Band that won the 1923 National Championships.
With the family effectively proceeding onward to better things at Fodens, he went along with them in 1924, supplanting Percy Shaw (a fine player in his own right, who left for Black Dyke). With Alex on euphonium and his different siblings in a band directed by their dad, the rest is history.
He went ahead to wind up noticeably a main conductor, winning prizes in abundance with Black Dyke and CWS Manchester.
Mather was conceived in 1919 close Wigan, and in spite of the fact that he began on the cornet and was a fine example on that instrument he turned into a baritone and after that euphonium player towards the finish of the war.
He played with CWS Manchester and afterward Fodens, where he won the 1950 Nationals and had spells Cresswell Colliery, John White Footwear, Black Dyke (after not playing for a long time!) and Cammell Laird, before resigning in 1972.
He delivered one of the finest sounds at any point heard on the instrument and played to incredible praise wherever he went – including an astonishing dep work under the twirly doo of Sir Malcolm Seargent in London in 1950. He stays a standout amongst the most regarded players ever to have gotten the euphonium.
The cutting edge time of banding has seen numerous extraordinary players, yet there must dependably be a leading figure from which all others take their marker. That man was Lyndon Baglin. Conceived in the Forest of Dean, he turned into the finest player of his era by consolidating sound, procedure and musicality into a bundle as a player that was years relatively revolutionary.
He came to conspicuousness with huge numbers of the best groups of the period, incorporating legendery spells with CWS Manchester, Brighouse and Rastrick, Fairey’s and Stanshawe. He even had a short spell on Eb bass with Black Dyke! As hard a slave driver on himself as he was with kindred players, his gauges never dropped and he performed with huge musicality in his later playing days with the Cory Band, first as soloist and even today as a moment euphonium. A genuinely awesome player.
One of the most delightful men ever to play the instrument, Trevor Groom was for more than 30 years one of the best euphonium players in the nation, first with the Kettering Citadel Band and afterward with the GUS Band, with whom he won two National titles, a World title and a British Open.
He is potentially best recalled however as the man who gave the principal execution of the Joseph Horovitz Euphonium Concerto at the Royal Albert Hall in 1972 (fortunately recorded for family), an event that for the overall population finally demonstrated that the euphonium was a performance concerto instrument to be dealt with in an indistinguishable path from a trumpet or trombone. It was an accomplishment of immeasurable scope and drove the route for different arrangers to be pulled in to the instrument. It is something all the banding scene ought to be appreciative to him for.
It is troublesome now when tyke wonders are the standard in each part of life, to trust the effect the youthful Billy Miller had on the banding scene.
When the euphonium players were thought to be in their prime in their mid to late 30’s, along came a this 15 year old to play superior to any other individual on the challenge or show arrange. He was British Solo Champion, showed up on Blue Peter and played with groups, for example, Wingates, Hammonds Sauce, Grimethorpe and Versatile Brass and played with such masterfulness and musicality that he was basically amazing to tune in to.
Today he is a most regarded instructor and soloist with the Leyland band, yet every time you hear him out play you are reminded exactly how great a player he has been.
For a considerable length of time euphonium players were set apart out as being extraordinary players by the way they delivered their sound. Tone was everything. At that point showed up Nicholas and Robert Childs, and euphonium playing changed for eternity.
Both were instructed by their dad, John, in Tredegar South Wales, however both moved north to encourage their playing vocations. Inside a matter of a couple of years they had changed euphonium playing with jumps in the standard of strategy that were generally mind boggling. Nicholas specifically had a feeling of musicality that additional to his monstrous procedure made him sound dissimilar to whatever other player, and his time with Grimethorpe and Fodens specifically was studded with exhibitions of close flawlessness.
It’s the most troublesome of all choices to put him over his sibling, however in a shorter playing profession, he had it all. In any case, both were astounding.
The toward the end in the line of the really incredible players of the twentieth Century. Mead has cut out a vocation as a soloist by sheer mark of ability and diligent work, as he has taken his instrument far and wide in a purposeful push to demonstrate the esteem and temperances of the euphonium as a genuine solo instrument.
His determination has implied that he has not moved far from his picked way to lead or make; yet he has brought an abundance of new music, genuine sytheses and interpretations to the euphonium collection. He has stayed near his foundations in the banding scene, playing with unique excellence with groups, for example, Desford and CWS Glasgow and has manufactured his soloist notoriety far and wide.