A most glorious concert full of superb playing by the ACO under the guest leadership of Lorenza Borrani who was very stylish in elegant black culottes.
What was interesting to note is that all three works were not originally written for a string orchestra.
First we heard PROKOFIEV’s Violin Sonata No.1 in F minor, arranged for violin and strings by Borrani. It was given a powerful, passionate performance. The cellos and basses generally took the piano parts, with the violas acting as the middle of the keyboard, the violins on top.
The first movement opened sombrely and sorrowfully and featured an eloquent, almost heartbreaking solo by Borrani. The cellos and double bass rumbled in agreement with Borrani’s anguished statement, the violins then joined the discussion. The music became shimmering and floating yet sharp and spiky. This then changed to a somewhat lighter mood and melody that swirled and pulsated.
The second movement had a very energetic opening by the cellos and double bass, with a rather ominous march like tempo.
Borrani was fiery and defiant with sharp, spiky flurries. An angry discussion developed between the two sections of the Orchestra with Borrani attempting to be a peacemaker. A relentless driven rhythm took us to the dramatic ending. Continue reading AUSTRALIAN CHAMBER ORCHESTRA : BEETHOVEN AND PROKOFIEV→
Internationally acclaimed Australian violinist, director and concertmaster Madeleine Easton, founded Bach Akademie Australia, an Australian ensemble to bring the great musical tradition of Europe to Sydney.
The music of J.S. Bach will come alive in Sydney at two very special performances. Bach Akademie Australia and their newly formed choir will perform two of Bach’s greatest Cantatas and the rarely performed Ascension.
Bach Cantata BWV 12 'Weinen, Klagen, Sorgen, Zagen'
Bach Cantata BWV 20 'O Ewigkeit, du Donnorwort'
Bach Ascension Oratorio BWV 11 'Lobet Gott'
Soloists: Amy Moore (Soprano), Tobias Cole (Alto), Richard Butler (Tenor), David Greco (Bass)
Those of us in the shamefully small audience (where was everyone?) were treated to a heavenly concert, the first of this year’s Willoughby Symphony Chamber series at the Zenith.
After a wonderfully successful first year, the Willoughby Symphony’s chamber music series returns for its second season with three exhilarating concert experiences in 2019. This year the Artistic Director for the Chamber series is Daniel Dean.
This concert was full of fine ensemble playing which was rich textured and multi layered. First we heard Louise Farrenc’s Nonet in E-flat which brought her great acclaim and, perhaps more importantly, equal pay as a composer, in 1850. The first movement began with a rich, flowing opening for strings and woodwind. The nine magnificent players then entwined in an infectious melody with some bright rather bouncy sections contrasted with soaring lyrical segments and showy solos for some of the instruments. Continue reading WILLOUGHBY SYMPHONY CHAMBER SERIES CONCERT 1→
Happy Birthday to the Australian Brandenburg Orchestra! This year marks their 30th birthday and the season began with a glittering , joyous concert. There were many VIPS in the audience and the Orchestra’s playing under the enthusiastic and very energetic baton of Paul Dyer was in superb form . There were huge garlands of flowers across the middle balcony above the Orchestra .
Introductory speeches were made by Bruce Appelbaum the Managing director and then Dame Quentin Bryce .
We heard five of Bach’s Brandendburg Concertos. Written in 1721 the concertos were submitted to a possible patron the Margrave of Brandenburg and are a magnificent showcase to feature the musicians of the Orchestra on their period instruments and continual refinement of Historically Informed Performance style .
First was No. 4 in G major, BWV 1049 in three movements which featured recorders as played by Melissa Farrow and Mikaela Oberg. The first movement was bright and sprightly , the music leaping cascading and pulsating. Shaun Lee Chen had a fiery, insistent solo on his violin .The fluid music became a breathless dialogue for the ensemble.
The second movement was slower with a looping repeated melody and in the third the violins were energetic and emphatic with a featured very fast bubbly trio for Lee- Chen ,Farrow and Oberg on recorder , with another showy solo for Chen . Again a great dialogue ensued between all the ensemble leading to an emphatic conclusion. Continue reading AUSTRALIAN BRANDENBURG ORCHESTRA : BACH’S BRANDENBURG CONCERTOS→
This spectacular opening concert for 2019 brought together the combined forces of the Willoughby Symphony Orchestra, the Choir and Pacific Opera in a delightful performance with an Austrian/Viennese theme with music by Mozart and Strauss . The hall was decorated with huge glorious garlands of flowers in celebratory mode.
Energetically and enthusiastically conducted by Dr Nicholas Milton , the concert began dynamically with the crashing, flurried Polka Schnell Op 324 “ Unter Bonner und Blitz” ( Thunder and Lightning ) by Johan Strauss.
Then we heard a selection of four pieces from Mozart’s The Marriage of Figaro , the Orchestra with artists from Pacific Opera .During the brisk overture the singers arrive ( dressed as if for a very posh party , the men in tuxedos the ladies in elegant evening gowns ) and make their way to the balconies .Sull’aria , che soave zeffretto ( the Countess Almavira dictating a note for Susanna to take to the Count) was an exquisite duet sung by Emma Nightingale and Michelle Ryan. Porgi , Amor , qualche ristoro another of the Countess’ arias was passionately sung by Hannah Greenshields from her balcony seat .( yes for each piece we had a different Countess) . Deh Vieni non tardar , Susanna’s aria, was splendidly sung by Emily Turner – on stage – with a glittering mask. It was lyrical and reflective. Continue reading WILLOUGHBY SYMPHONY GALA CONCERT @ THE CONCOURSE→
The music of J.S. Bach will come alive in March in Parramatta at a very special concert by Bach Akademie Australia, performing two of his greatest Cantatas and the rarely performed Ascension.
Founder of Bach Akademie Australia, Madeleine Easton, is an internationally acclaimed Australian violinist, director and concertmaster who works with some of the most respected ensembles and orchestras around the world.
For the first time, Bach Akademie Australia will perform with a full choir of hand-picked singers from around Australia including four internationally regarded vocal soloists.
DATE FOR THE DIARY
Saturday 30 March 8pm-9.30pm at St Patricks Cathedral, 1 Marist Place, Parramatta
“The small is great when it is written naturally…” Leopold Mozart, of J.C. Bach
Bach’s youngest son Johann Christian made a successful career for himself for over 20 years in London, most of that in partnership with his compatriot the viola da gambist Carl Friedrich Abel. Together they ran a subscription series numbering about 15 concerts a year. The fodder for this was provided by themselves and their colleagues in the form of symphonias, concertos, songs and chamber works. Taking into account the taste of an English public eager to hear the latest, Christian produced music of an exceptionally lyrical kind – far removed from his revered father’s learned style, while Abel was no slouch in contributing beautiful works of his own.
Sample some of this delightful easy-to-listen-to music so admired by Mozart as Thoroughbass present a selection for two violins, viola da gamba and keyboard – a sonata for gamba and continuo, a quartet for violins and gamba, and some fantasias for gamba by Abel, together with an unusual sonata for keyboard with violin accompaniment, a quartet for two violins and gamba, and a concerto for harpsichord and strings by Johann Christian dedicated to ‘the Queen of Great Britain’.
Early baroque music, much of it composed for the church, was often melancholy in character and meditative by nature. The gradual increase of separation between sacred and secular music opened new opportunities for composers to write purely for entertainment – such as Thomas D’Urfey’s “pleasant and divertive” set of songs, “Wit and Mirth, or Pills to Purge Melancholy” (1698). Continue reading MELANCHOLY AND MIRTH FROM SALUTE! BAROQUE. A BAROQUE GIVEAWAY→
LEONARD THE LYREBIRD – A MUSICAL STORY, will be onstage for the first time ever in the exciting and beautiful surrounds of Scenic World in the World Heritage-listed Blue Mountains.
LEONARD THE LYREBIRD – A MUSICAL STORY is an
original composition by acclaimed composer Ian Munro based on the children’s book, Leonard the Lyrebird. Written by Jodie McLeod and illustrated by Eloise Short, both Blue Mountains locals, Leonard the Lyrebird is a popular Australian bush animal story about friendship and bravery that connects children and their families with the Blue Mountains. Continue reading LEONARD THE LYREBIRD- A MUSICAL STORY AT SCENIC WORLD. GIVEAWAY WITH RIDES!.→
Experience The Power Of Blockbuster Movie Music With A Live Orchestra
The Metropolitan Orchestra will showcase massive orchestral hits orchestral repertoire from some of the biggest movies of all time in their first concert of 2019 titled “A Night At The Movies”.
This power-packed performance which will be presented by TMO Chief Conductor Sarah-Grace Williams will feature music from blockbuster cinema productions including Superman, Raiders of the Lost Ark, Platoon, Dunkirk, The King’s Speech, 2001: A Space Odyssey, Batman, ET, Star Trek and Star Wars.
The electric Saturday evening performance will blast-off TMO’s concert season with works by Suppé, Williams, Elfman, Wagner, Elgar, Morricone, Strauss, Beethoven, Mussorgsky, Barber and Goldsmith in an emotive musical experience which will transport audience members to other times and other places.
DATE FOR THE DIARY
Saturday 9th March 8pm at Petersham Town Hall