It is with great pleasure that I recommend PHILIP DEVINE, trombonist. Mr Devine possesses great technique and artistry; his playing is musical and expressive. He is easy-going and friendly with a warm, intelligent personality, flexible and always willing to cooperate.
Dr. Ken Shifrin: ex Principal Trombone, CBSO.
An experienced orchestral player…He has a rich, full sound and a fine technique. I am most impressed with his musicianship and style, particularly his sensitive balance in the general ensemble. His musical qualities are enhanced by a pleasant manner and he is very easy to work with.
Alwyn Green: Bass Trombone CBSO
As an orchestral, solo and chamber music player Philip is reliable, musical and technically impressive.
Peter Bassano: former sub principal trombone Philharmonia Orchestra; former head of brass RCM.
An accomplished trombonist…He has a good and flexible technique which enables him to play solos and orchestral repertoire with equal authority.
Lindsay Shilling: former principal trombone LPO; principal trombone ROH.
An unusually capable trombonist with an attentively proportioned tonal approach…He is also a sensible, attentive and sensitive musician
His playing is, because of this quality and range, unusually distinctive and distinguished. It is my opinion that players of the quality and character of Philip Devine are particularly necessary in Western orchestras today, where so much has been sacrificed to breadth and loudness, often to the exclusion of focus, real substance and proportion – all essential, as I see things, to proper orchestral brass playing.
Because of this I should like to place on record my particular commendation of Philip Devine as a trombonist of real distinction and international promise.
Stephen F Daw. MA(Oxon)
FTCL examiners' report
|
|
|
Programme Castérède: Sonatine pour Trombone et Piano Elgar Howarth: Concerto for Trombone Axel Jørgensen: Suite pour Trombone et Piano (Op.22) (45 minutes) The recital began with the Sonatine by Castérède. The vitality of the opening movement was caught from the outset moving into a colourful and rhythmic exposition. Dynamic levels were chosen well and the grittiness of the development led into a joyous recapitulation. The legato cantabile of the second movement was measured and controlled, fully expressing the sensuality of the piece with only a slight loss of focus in the tone, though the vibrato consistently added warmth. The third movement was energetic with leaps always secure. Throughout the clarity of articulation was impressive, producing an exhilarating, spirited performance. Howarth’s Concerto for Trombone began suitably restrained. The continual changes of metre were managed naturally, intervals always pitched accurately and tonal contrasts responding to the changes of mood. The cadenza was technically assured and intense and the climax and release in the Lento convincing. In the final Vivace the sometimes startling qualities of the instrument introduced both passion and drama. The recital ended with the Suite for Trombone by Jørgensen. Here, the crispness of articulation once again came to the fore contrasting with the lyricism of the second motif. This was an energetic display, full of life and with barely a blemish in the marcato passage. The style of the Minuet was captured well with crisp dotted rhythms. The final Ballad et Polonaise was expressive in the opening statement and in the following two variations the stamina of the performer was clearly evident. Overall an impressive performance which was both assured and persuasive.
|
