American academic and pianist John Bloomfield shares his insights on the Taubman Approach.

Cameron Carpenter is one of those classical music anomalies: he plays the music, but his approach is anything but classical. He’ll play anything, from Bach to Bacharach, plus his own daring inventions thrown in for good measure, with a questionable (and frequently controversial) sense of style. This debut disc features his mighty digital touring organ, and begins with the famous Prelude from Bach’s Cello Suite No 1, played only on the foot pedals (why use hands?). This mutates into a monstrous elaboration that barrels and snarls with echoes of Bach blended with circus kitsch. Think Wurlitzer gone wild. Next is a transcription of Bernstein’s raucous Candide Overture. It’s a brilliant work, which then jumps to the serene Rachmaninov Vocalise. Then one of his own compositions, followed by Piazzolla’s Oblivion. Not to mention his paraphrases of songs like Bacharach’s Alfie and Newley and Bricusse’s Pure Imagination. The program on the whole is baffling. Carpenter says each work “offers a different taste of ecstasy”, and while he does show off the colour range of the touring organ (and his own reckless brand of virtuosity), it’s a bit of a mess that misses out on the visual magic of his live shows. There…

Arcangelo Corelli was a surprisingly un-prolific composer; his reputation and influence was out of all proportion to the quantity of his output but it was a case of “never mind the length, feel the quality”. His prodigious melodic invention with virtuosic flourishes and sensuous harmonic progressions are like a Bernini marble rendered in sound and his own playing made him the reigning superstar of the day and the darling of the Roman courts. The bulk of his work are the four dozen trio sonatas which set the mould for later composers, yet we have had surprisingly few good recordings in this flourishing era of Baroque-mania. This set of the Church Sonatas is a follow up to The Avison Ensemble’s set of Chamber Sonatas released last year and completes their much-welcome survey of Corelli’s complete published works. This excellent group of veterans of the British early music scene led by Pavlo Beznosiuk deliver refined performances. The continuo is varied and colourful with cello supported by harpsichord, organ and archlute, yet is not distractingly busy and the two violinists, while lean-toned, blend nicely with impeccable intonation and transparent textures that allow the interplay of Corelli’s part writing to come through clearly without……

We reveal who took the coveted title of this year’s finest classical recording.

Two piano works attributed posthumously to Chopin may in fact be by a student of the composer. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

A quirky, but ultimately uplifting evening of unexpected festive delights. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Holographic technology allowed the deceased Russian composer to return to the concert platform. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Simon Tedeschi has become something of a household name here in Australia. Known for thinking outside the classical box, he’s shown himself to be an artist of expert ability with some impressively diverse tastes. He collaborated with Australian jazz great James Morrison on his previous album with ABC Classics, Gershwin: Take Two, and this, his most recent release on the label continues his foray into the world of jazz. This compilation of local piano music has been chosen specially by Tedeschi, in what he calls a musical “self-portrait”. There’s something refreshing about the collection – it’s the perfect soundtrack for a lazy afternoon. You’ll find it has a soothing warmness, and at times an irresistible groove that instills it with a playful energy. Tedeschi’s performance is nuanced and sensitive, and perfectly suits the demands of the piano writing. The disc opens with a Barcarolle by pianist-composer Mark Isaacs, whose music adds a calming touch to the album. He has five miniatures peppered throughout the collection, including the title track, Tender Earth – a stunningly gentle soliloquy brought to life through Tedeschi’s thoughtful approach and delicate touch. Mike Nock’s music offers some welcome contrasts. The cutely named… Continue reading Get unlimited digital…

I must admit I wasn’t familiar with the composers on this disc, but they’re both discoveries that I’m happy to have made. Performing here on two magnificent Ruckers keyboards from the early 17th century, Karen Flint plays these French Baroque works with an exquisitely light touch, presenting Lebègue and Hardel’s dances in the best possible way. The complete harpsichord works of Lebègue consist of his 1677 Les Pièces de Clavessin, and the 1687 Second Livre de Clavessin. Notably, it’s in the earlier collection that the very first unmeasured preludes (a form of prelude where each note’s duration is at the performer’s discretion) are contained. Most of the three discs are devoted to Lebègue’s music, but the potential dullness of a standardised sound is allayed through clever use of the two harpsichords. Although it’s not stated which one is used where, the benefit is clear in the pleasantly twangy Suitte en F ut fa, a very different sound from the richer instrument used elsewhere. Poor Jacques Hardel left only about 20 minutes of music, but it is extraordinarily beautiful. The noble Courante d’Ardelle, transcribed from a lute original, is particularly affecting. The liner notes are extraordinarily detailed in their descriptions of…

The advantage a recording has over a live performance is the same as that of a printed score: freed from the shackles of time and place, one can feed as much or as little as, hunger dictates. This is often crucial with collections of works that weren’t intended to be listened to at one sitting. Yet there’s an assumption that people will listen through from beginning to end. So how to ensure the variety necessary to maintain interest? The wonderful Gywn Roberts takes her cue from historical uncertainty: for much of the Baroque period, the word “flute” could have meant either a recorder or the transverse flute proper. Thus, in this selection of works from Neapolitan composer Francesco Mancini’s 1724 collection “Solos for a flute with a Thorough Bass for the Harpsichord or for the Bass Violin” she uses a variety of instruments: two alto recorders, a voice flute (slightly lower in pitch than a treble recorder) and a transverse flute. Not only that: the continuo section continually, if you’ll excuse the pun, changes in colour and texture as Richard Stone and Adam Pearl, accompanied for the most part by Lisa Terry on cello, employ various combinations of harpsichord, organ,……

Bright young guitarist carries off award and $5,000 into the bargain. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

We ask the winner of this year’s ABC Young Performers Award about her musical start in life.