Certainly a young man who knows his own mind... it is refreshing to find a young player showing consistent individuality -- The Irish Times

A cheerfully percussive performance... took on with engaging self-assurance -- The Washington Post

His playing was exemplary: beautifully executed with lovely tone... elegant and stylish throughout - The Sunday Tribune

An able technician who rattled off the familiar musical militarisms of the first movement with admirable accuracy, and played the beautiful second movement with restrained, tasteful poetry - The South Florida Classical Review

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There was the astonishing technical facility of soloist Peter Tuite. He fashioned triphammer articulation, singing line, and rippling arpeggios in a trice of brilliant music making. His coda for the first movement brought a pin-drop hush to Mechanics Hall, as did his supple interplay with the woodwinds in the second movement largo. The final Rondo clearly delighted the audience. In recognition of that appreciation, Tuite spun out a Shostakovich encore that was pure zany hyperbole, cascading liberace-mocking trills, a breath-taking pyrotechnical pianistic joke... [by] a remarkable musician -- The Worcester Telegram & Gazette, Massachusetts


The star turn this year was Peter Tuite, who concentrated on pairs of major figures from the 18th and 20th centuries. His approach to the Haydn and Mozart was one of extraordinary calculation and tonal refinement, every note measured and weighted... In the music of the 20th century he was even more impressive. He offered four of the pieces Luciano Berio published as Six Encores (Brin, Leaf, Wasserklavier and Erdenklavier), conveying them as perfect miniatures, each exploring distinctive facets of keyboard sonority in ways that were fully engaging, not least in the hushed romanticism of Wasserklavier. Tuite has made a special study of Messiaen and ended with a piece from the composer's great piano work of the 1950's, La Buse Variable (the Buzzard), from the Catalogue d'Oiseaux. His achievement here was to make the music sound as fully of the world of bird-song pictorialism in music as of the angular abrasiveness of the 1950's avant-garde -- The Irish Times

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But the read pearl hid in the centre: the Dimitri Shostakovich Piano Concerto No. 2, with guest Artist Peter Tuite. Here was the care, the clarity, the direction needed... it was also lace-making -- a curious phrase to describe the turbulent, often boisterous Shostakovich. But the Dublin-born pianist sidestepped the usual blunderbuss and brute force in favour of delicacy, reflection and wonderfully atmospheric coloring. He showed the Shostakovich melodies at their most original and songful. In the simple, yet oh-so-poignant hymn of a slow movement, Tuite and Gleeson seemed in their element. Together, they created an elegiac stillness bordering on the ethereal. The well-matched ensemble was captivating in in the finale -- Palm Beach Daily News

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He Played [Beethoven's First Piano Concerto] as if from the elevated perspective of long experience. His manner was soft-spoken and his control of tone-colour and inflection was such that he often seemed to be caressing the sound out of the instrument. The abiding spirit of the music making was of a gentle bonhomie which Tuite snapped out of only a couple of times, not least during the first movement cadenza. And Markson... successfully scaled down the orchestra's sound to match the intimacy of Tuite's playing in the concerto -- The Irish Times

[The piano] thundered, it whispered, it cooed, it was stentorian, caressing -- there seemed no end to its many voices. Like an orchestra it had many colours: strings, woodwind, brass and their combinations. As the Brahms Sonata is a long one, such a variety of tone colour helps to make the piece dramatically exciting, but even more impressive was the way the pianist conveyed his sense of the profundity underlying the music -- The Irish Times


Tuite’s approach was quite different… what he did was to dig out what was most interesting and invest it with breath and colour in a very stylish and involved manner, that was ultimately very persuasive - The Irish Times

And no apologies preceded a brilliant Peter Tuite performance at the Keyboard... that was piercing in the opening Allegro, ethereal in the Andante, and incendiary in the finale -- The Culture Guide, Charlotte North Carolina