The Finnish composer shocked many in the establishment when he embraced a popular mysticism with his musical angels.

From Hobart to Berlin, the Tasmanian Symphony Orchestra Principal shares her hopes, inspirations and passions. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

If you want a collection of bombastic, second-rate piano concerti in which Rachmaninov’s parentage is obvious, then this is the disc for you. However, there are some gems, such as Hubert Bath’s 1944 Cornish Rhapsody (A Lady Surrenders) and Richard Addinsell’s Warsaw Concerto for Dangerous Moonlight (1941). On the other hand, I don’t think much of Shostakovich’s music for The Unforgettable Year (1951), steeped in musical rhetoric of the worst type and possibly written to order by the authorities. Similarly vacuous is Kenneth Leslie-Smith’s music for The Women’s Angle (1952) and Nino Rota’s unusually poor music for The Glass Mountain (1949).Charles Williams’ charming music for The Apartment (1949) is far better. Richard Rodney Bennett’s journeyman music for the overrated Murder on the Orient Express is not the best film music he ever wrote, whereas Jack Beaver’s music for The Case of The Frightened Lady (1940), is first class. After pages of arpeggios it was a relief to hear Dave Grushin’s On Golden Pond (1981) for piano. Finally, Carl Davis’ elegant and freewheeling music for Pride and Prejudice (1985) is arguably the best music on the disc. Valentina Lisitsa plays all the music very well, and the orchestral… Continue reading Get…

I enjoyed this Brahms cycle. Fortunately, Asher Fish is not a member of the “Brahms Lite” Chapter or a Chailly/Gardiner – style speed merchant. What’s more, unlike the hapless, battle-jacketed George W Bush standing on the deck of that aircraft carrier, under a sign proclaiming “Mission Accomplished”, Asher Fisch really has accomplished his “mission” to transform the West Australian Symphony Orchestra from merely good into a potentially great instrument, on the strength of theses performances at least. It plays with confidence, sheen and finesse. The buoyant galumphing rhythm of the opening movement of the First Symphony is just right (no repeat observed – presumably because of the plan to fit this and the Second Symphony on a single CD) without diminishing the inherent drama. The second and third movements are really like lightly scored serenade movements buffering two huge epic book-ends, but it’s here the quality of the woodwind phrasing (and the depth of the orchestra’s talent) becomes apparent. This is warmly shaped, with oboe and clarinet solos notable but also a lovely extended reverie by concertmaster Jackson duetting with horns. The Finale, with its deliberately tentative opening, is always problematic but Fisch guides his players through treacherous shoals… Continue reading Get unlimited…

Sydney ensemble round off a stunning season with plenty of Sturm und Drang.

Sir Simon’s new Berlin cycle on the orchestra’s home label combines the HIP with a roundly Romantic underbelly. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Pin back your ears as six tale-tellers from Australian orchestras share some rippers from the dim and distant past.

A unique take on end-of-year carols, Noël! Noël! has plenty for both jaded Christmas concert-goers and lovers of Christmas nostalgia.

The well-loved violist and music teacher has drowned while on a school excursion near Alice Springs. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

John Adams frequently references tradition in his music, using contemporary sonorities and forms to comment on the past. His most recent major orchestral work, Scheherazade.2, is only on the surface a nod to Rimsky-Korsakov’s symphonic poem, taking a more contemporary approach in telling the famous story. Remarking on the disturbing violence committed against women in stories from The Arabian Nights, Adams was inspired to reinvent the principal tale, imagining a strong and empowered ‘modern’ Scheherazade. The composer gives voice to this powerful retelling in a massive four-movement work that’s part symphony, part concerto, with a dramatic solo violin part embodying the Scheherazade character (another cursory nod to Rimsky-Korsakov’s original). The work receives here its premiere recording with the St. Louis Symphony Orchestra and David Robertson (also Chief Conductor of the SSO) with the soloist for whom it was written, Leila Josefowicz. Josefowicz’s performance is outstanding, negotiating the virtuosic solo part with passion, assurance and an ironclad tone. She slides, ducks and weaves around an often-aggressive orchestra that’s given an exotic flavour thanks to the addition of a Cimbalom – a Hungarian dulcimer. The St. Louis orchestra’s sound is simply magical and perfectly balanced in this recording under… Continue reading Get…

Stuart Skelton’s Janáček, David Robertson’s Adams and Opera Australia’s King Roger are all in the running for 2017. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Skipworth has won the Orchestral Prize while Dean has taken out the Song Cycle category in the 2016 awards. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in