Review of Peter Moore and Joseph Middleton, Trombone and Piano Concert
Saturday 30th January 2016
As a (now mostly lapsed) trombonist myself, I was particularly excited to see Peter Moore in concert, whose reputation goes before him in the brass world as the youngest ever winner of the BBC Young Musicians Competition in 2008. He was also famously appointed co-principal trombone of the London Symphony Orchestra at the age of 18 in 2014. But above this, he is notorious in brass circles for being a true master of his instrument, with enviable technique and above all the most beautiful tone you are ever likely to hear performed on the trombone. So we are very lucky to have heard him at St Andrew’s, accompanied by the ever-sympathetic and adaptable Joseph Middleton on piano. Peter told us in his charming way that they met for the first time in Edinburgh in 2014, when they had to get to know each other very quickly due to having five concerts in the space of four days! That baptism of fire appears to have paid off for their collaboration.
Peter was able to create a varied and imaginative programme thanks to his ability to play pieces originally written for other instruments (which he called “stealing”!) – with his virtuosic talent, he need have no fear of the tricky fast passages or restrictions of range that many a lesser trombonist would! So the concert began with a Beethoven horn sonata (op. 17, 1800) where Peter captured the sound of the horn whilst also making it his own, and showed off a frankly shocking range of pitches I wouldn’t previously have thought possible on the trombone. A feature of Peter’s technique is his meltingly sweet legato, to which all trombonists aspire but few achieve. This served him well in the next piece, Mahler’s Urlicht (1893) as one of his Songs from Des Knaben Wunderhorn (which later appeared in his fourth symphony), where his expressive tone fully embodied the words we read from the programme. Joseph then played Impromptu No. 3 in G-flat Major (1827) by Franz Schubert, a solo piano piece, again song-like in style, and the wistful style was an appropriate follow-on from the Mahler. Peter then played Sonata for Trombone and Piano (1993) by an American composer of brass music, Eric Ewazen, who he had met in Hong Kong, and whose music Peter likened to “slightly cheesy film music”, which it turned out to be in the best possible way! With grandiose passages interspersed with more energetic and rhythmically surprising sections, this piece certainly made Joseph work! It was fitting to end the first half of the concert with a piece definitely designed for showcasing the trombonist’s ability.
The interval was no doubt a welcome break for trombonist and pianist alike, the former of whose stamina was spectacular (playing the trombone is a very physical occupation!). The second half began with Fantasie for Trombone and Piano in E (Op.27, 1905) by Stojowski, with some unaccompanied parts for trombone, where Peter’s sound rang out in the church. This was then followed by Brahms’ Four Serious Songs (Op. 121, 1896), again intended for voice, but played beautifully by Peter so that the melodies could be fully appreciated. Written when Clara Schumann had just had a stroke, and her death was soon anticipated, the style is not surprisingly morbid, based on Biblical passages, though the fourth and final song was notably more hopeful than its predecessors. This was again an example of the piano accompaniment shining out alongside the simpler melody line. Joseph then appeared again in his own right playing Two Nocturnes (1832) by Chopin, with dazzling chromatic sections. Peter rounded off his programme with a piece of trombone repertoire, La Petite Suzanne (1937) by Arthur Pryor, who wrote this light-hearted waltz for himself as a trombonist. Not for the faint-hearted – there were examples of terrifyingly fast triple-tonguing which Peter accomplished with apparent ease.
Whilst definitely spectacular to watch, Peter’s understated style means he is not afraid to play quietly, and he uses no off-putting vibrato. This made it a joy for the audience which may not have been noticed by those who haven’t before seen less tasteful solo trombone performances! Joseph and Peter are a very smiley and appealing pair of performers, with Peter’s natural confidence with the audience putting everyone at ease, impressive in one so young.