CON CERT REVIEW Peter Steiner Recital ROYAL BIRMINGHAM CONSERVATOIRE BY JAMES DRUCE
Peter is quickly gaining renown in the US, across Europe and further afield as a trombone soloist. While still enjoying work with orchestras including the Colorado Symphony and Vienna Philharmonic; Peter and his accompanist/partner, Constanze Hochwartner, now focus on bringing the virtuosity of the instrument to wider audiences, making waves on stage and on social media. Their recent Conservatoire masterclass tour across the UK was a first for the duo and included a fulllength recital at the Royal Birmingham Conservatoire. The recital started with an energetic and virtuosic introduction – something the musical world is starting to associate with Peter. Bertrand Moren’s Psychedelia was adapted for tenor trombone and piano soon after its original composition for the bass trombone. Along with being in complete command of the technically demanding passages, Peter indulged the audience with lovely lyrical sections which showed off his range capabilities. The ending of the piece was just as fiery as the start, leaving the audience thoroughly energised. Peter decided to add David’s Concertino to the programme after Constanze remarked upon it as being one of her favourites in the repertoire. I was personally not sure how I felt about adding concerti (with piano reduction) to a trombone and piano recital, but Peter changed my mind right from his first note. I assumed initially that the opening was played at a conservative dynamic, for what is usually a dominant entry over an orchestra, but it quickly became apparent that Constanze and Peter had gone to great lengths to approach this Concertino from a chamber point of view which worked very well. Peter’s playing efficiency didn’t take away from the musicality portrayed whatsoever and we were treated to a very polished rendition of a trombone classic. Between the two seminal pieces for trombone was a lovely little arrangement of Song to the Moon from Rusalka by Dvořák. Peter and Constanze shared
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the melody and created silky bel canto lines full of emotion and yearning. Weber’s Romance was next on the programme and was widely considered the most impressive playing of the whole recital. An absolutely unblemished rendition of another ‘big tune’ in the repertoire with low notes rivalling any class bass trombonist and absolute control all over the instrument regarding range and dynamics. This piece in itself was a masterclass of trombone playing. Another arrangement followed with Carlos Gardel’s Scent of a Woman. The audience enjoyed a lighter style of music with a simple film-esque melody handing itself nicely to some slide vibrato and virtuosic flourishes from Peter. A similar style piece followed as Peter played an adaptation by Freidlin called Towards the Light which was inspired by a recording made by Nitzan Haroz of the Philadelphia Orchestra. This tune again very clearly saw the musicians’ hearts on their sleeves during this lovely ballade. The final piece played was Brahms’s Hungarian Dance. As with the opening piece, Peter let go with a flamboyant end to the programme. The inspiration for adapting this for trombone was how ‘jealous’ he felt watching the violins enjoying themselves with the adrenaline-filled melody while he sat playing off beats at the back of the Musikverein. Peppered with almost comedic recitative sections, Peter and Constanze had plenty of virtuosic flare to add to their growing reputation as a dynamic duo. To find out more about Peter Steiner visit his website. His YouTube channel contains free masterclass videos, alongside live performances and studio recordings. James Druce is a trombone student at Royal Birmingham Conservatoire. ◆
