Press
The rich sonorities of tuba, trombone and horn dominate...
theartsdesk.com
...Dyer played with grace and command.
Local Secrets
Trombonist Stephanie Dyer hits the Fitzwilliam |
by Mike Levy |
Nanki-Poo, you Mikado followers will remember, disguised himself as a 'second trombone'. Even before Gilbert and Sullivan's day, the instrument was seen as a something to smile about. The trombone has a unique ability to make silly sounds like sliding down the scale (the accompaniment to many banana skin comedies) or a deep rasping bass note sounding like a very rude raspberry. It also looks rather comical with its very lanky appearance made ever more gigantic with its extendability that would put a B&Q ladder to shame.
Hats off then to the Cambridge Summer Music Festival for programming one of its precious Sunday proms at the Fitzwilliam Museum to a recital devoted to the brass instrument. A packed house enjoyed soloist Stephanie Dyer make us think again about the versatility of the trombone. She was more than adequately accompanied by fellow Cambridge graduate Matthew Fletcher on piano.
The 45-minute recital began with a hearty showcase piece by Saint-Saëns – his Cavatine Op. 144. Young Dyer was always spot on with her notes and played in instinctive partnership with the piano. The short opener was followed by a rather melancholy piece, a Romance by Weber (not the famous Weber but a later more obscure one). Though it didn't quite convince me that the trombone can really do sad yearning, Dyer played with grace and command.
Things livened up with Rimsky-Korsakov's spirited Trombone Concerto – a canter through the abilities of the instrument – from light classical horny frippery to some unnerving foghorn-like blasts. Dyer and Fletcher left the best till last: Hindemith's Sonata – four varied and richly layered movements that gave the piano much more prominence especially in the rather lovely second movement.
There was a very exciting finale where the trombone did what it does best – sound like a frenzied hunting horn on heat. The musical pair received a warm and well deserved ovation and an audience that from now on won't snigger when they hear a trombone.
Hats off then to the Cambridge Summer Music Festival for programming one of its precious Sunday proms at the Fitzwilliam Museum to a recital devoted to the brass instrument. A packed house enjoyed soloist Stephanie Dyer make us think again about the versatility of the trombone. She was more than adequately accompanied by fellow Cambridge graduate Matthew Fletcher on piano.
The 45-minute recital began with a hearty showcase piece by Saint-Saëns – his Cavatine Op. 144. Young Dyer was always spot on with her notes and played in instinctive partnership with the piano. The short opener was followed by a rather melancholy piece, a Romance by Weber (not the famous Weber but a later more obscure one). Though it didn't quite convince me that the trombone can really do sad yearning, Dyer played with grace and command.
Things livened up with Rimsky-Korsakov's spirited Trombone Concerto – a canter through the abilities of the instrument – from light classical horny frippery to some unnerving foghorn-like blasts. Dyer and Fletcher left the best till last: Hindemith's Sonata – four varied and richly layered movements that gave the piano much more prominence especially in the rather lovely second movement.
There was a very exciting finale where the trombone did what it does best – sound like a frenzied hunting horn on heat. The musical pair received a warm and well deserved ovation and an audience that from now on won't snigger when they hear a trombone.
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Stephanie Dyer played at the Fitzwilliam Museum on Sunday 1 August 2010 as part of the Cambridge Summer Music Festival.
