★★★★★ A perfect example of the level of musicianship of which this orchestra is truly capable. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

I approached this release with trepidation. The prospect of 11 pieces by 11 composers could easily become maudlin. Besides, what more can possibly be said about Gallipoli? Chris Latham, the director of the project (which had a decade-long gestation period) himself says in the notes “… the history of multi-author works was beyond dire. I didn’t know of one successful example. They were all stylistic mishmashes with no aesthetic cohesion”. This live performance is from one of Istanbul’s most revered mosques in the presence of Governor General, Sir Peter Cosgrove. Among the contributors are the usual suspects – Sculthorpe, Edwards, Kats-Chernin – with contributions from New Zealand and Turkish composers. Inevitably, the work begins with the plaintive sound of a didgeridoo, equally inevitably played by William Barton. The Australian contributions are in the generic “contemporary Australian” idiom but the attempts to fuse traditional Ottoman and modern Turkish music with Indigenous and western Australian and New Zealand music come off. There isn’t a weak link. The mosque acoustics are sensational but the Istanbul orchestra’s contribution is adequate, nothing more. The Australian choirs acquit themselves better under Jessica Cottis’ committed direction. The cutaway shots to World War I stills are often as…

★★★★☆ A violinist’s soloistic fireworks and a grand symphony open WASO’s 2016 season in fine style. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Opening with the broad Festive March Op. 13, Ondine’s latest release of music by Finnish composer Toivo Kuula presents orchestral works from a composer better known for his vocal writing. Though more solemn than ‘festive’, the expansive March places Kuula in the tradition of Sibelius, with whom he studied composition. Kuula’s orchestral offerings are unfortunately limited: the composer died young, killed in a fight during celebrations for the end of Finland’s Civil War. The first South Ostrobothnian Suite opens with chorale-like brass and winds underscored by motoring pizzicato strings. The cor anglais is the star of this movement, Landscape, Satu Ala’s tone liquid and tenebrous. The second movement, Folk Song, drips with Finnish melancholy while Ostrobothnian Dance is elegant and convivial. The third movement, Devil’s Dance, is bright and cheery and Song of Dusk is full of rich melody, once again featuring the cor anglais. South Ostrobothnian Suite No. 2 is the work of a more mature composer, but is very much a suite of convenience raher than musical unity – Kuula himself often performed the movements separately at concerts he conducted. The final movement, Will-o’-the-Wisp, opens with a treacley… Continue reading Get unlimited digital access from $4 per month Subscribe Already…

Musical and culinary bash pays tribute to Mark Foy’s hedonistic vision.

Dean and Robertson’s brave new start to a brave new series.

A handful of Limelight critics are spoiled for choice picking their favourite recordings.

Stellar multimedia Messaien sees one art illuminate another.

A programme, playlist and festival dedicated to the works of females are announced, released and revealed. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The conductor who has led more Last Nights than any other will helm the Proms’ first ever sojourn outside of England. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The French virtuoso brings his unique perspective to the mighty Vingt Regards. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Throughout history there have always been, and there will always be, women composers.