The euphonium is a rare visitor on the recital stage. But euphonium player David Childs and his accompanist Harvey Davies revealed the undiscovered riches of the instrument's repertoire in their Park Lane Group concert.

Childs is in his early 20s but is already established as a virtuoso in the euphonium world, and he proved to be a charismatic advocate of the instrument. In Alun Hoddinott's Sonata, the euphonium soared over the piano with melancholy, lyrical lines. Nigel Clarke's City in the Sea explored the extremes of the instrument, contrasting earthquake-like rumblings with whooping glissandos, in a depiction of the lost Suffolk town of Dunwich, which was engulfed by the sea in the middle ages. Elena Firsova's Euphonisms, a world premiere, was another demonstration of the versatility of the instrument and Childs's extrovert musicality.

Sharing the bill with this paean to the euphonium was a recital by pianist Evelyn Chang. Her steely precision and confidence made for the most satisfying performances of the evening, whether in the dark poetry of Elena Langer's Late Autumn Lullaby 1 or the brutal onslaught of Ed Bennett's Staggered.

But Chang was even more impressive in her interpretation of Alfred Schnittke's Second Piano Sonata. She made the climax of the third movement a shattering moment: in the reverberating aftermath of a massive, clangorous outburst, a ghostly chorale emerged. It was the most extreme expressive contrast in a work full of violent juxtapositions, and was brilliantly realised. In the midst of Park Lane Group programmes that have seemed contrived and opportunistic, this was a performance of insight and conviction.