Music has always been great propaganda, but over the centuries Britain’s royalty have turned it into an art form. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

This programme has been cleverly crafted around the world premiere recording of Sir James MacMillan’s Oboe Concerto performed by its dedicatee Nicholas Daniel with the composer at the helm. It is a bold virtuosic work that should prove popular with both players and audiences. The breezy first movement, a bustling affair with the soloist goaded on to challenging passage-work by startling effects in the orchestra, contrasts starkly with the following Largo based on material from a earlier composition In Angustiis (a post-9/11 lament for solo oboe). It juxtaposes periods of keening sorrow with outbursts of rage, while stretching the expressive possibilities of the instrument just about as far as it can go. The Finale is forthright and playful, opening with a demented parody of serialist pretensions before veering off in unexpected poly-stylistic directions – although some of its jokes are a little too wacky for its own good. The disc opens with Vaughan William’s pastoral idyll with the soloist directing a performance that should serve as a top recommendation for this under-recorded gem. The Britten Sinfonia’s limpid strings conjure moments… Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

★★★★½ A welcome return, with a new addition, for a mighty marriage of movement and music. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The British tenor is the quintessential lieder singer. He shares his cerebral approach to song with Maxim Boon.

Get in the mood for amore with this list of 10 of the most romantic couples in classical music.

Donald Runnicles and Frank Peter Zimmermann offer a touch of class in Sibelius and Elgar. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The young Sydney-born mezzo talks to us about her gifts, goals, going abroad. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

An opera and a production that punch well above their weight.

Lieven Bertels corrals a raft of intriguing and diverse music, theatre and dance talents to rock Sydney in 2015.

Stephen Cleobury sorts the men from the boys in glorious harmony.

The British recording label NMC has done wonders making available the rarer works of British composers, and during the Britten centenary turned to that master. With Britten To America they focus on perhaps Britten’s second most important collaborator, the great modernist poet WH Auden, with whom in the 1930s he collaborated in works for radio and stage. Although Auden’s ‘cabaret’ songs would become popular from recitals with Britten’s life partner, the tenor Peter Pears, it’s wonderful to discover them in their original choral context as music for the play The Ascent of F6 (1936), written by Auden in conjunction with Christopher Isherwood on the subject of mountaineering. The other substantial piece here, On the Frontier, comes from the following year and is also written by those two playwrights with a contemporary political eye on a transfer to the West End. Others – namely An American in England and the closing setting by poet Louis Macneice, Where do we go from here?, stem from contemporary BBC radio programmes. Whilst these works may be regarded as peripheral to Britten’s output, there is no doubt as to the professionalism of the group of performers involved and Britten’s compositional brilliance shines through, even in…

Formed in 2006, Melbourne-based trio Ensemble Liaison comprises cellist Svetlana Bgosavljevic, clarinettist David Griffiths and pianist Timothy Young. The trio, which has previously recorded for Melba Records and Tall Poppies, is well-known for collaborating and partners to date have included Emma Matthews, Tony Gould and members of the Australian Ballet. But every performance is a collaboration and such is the case here, where not only do we have arrangements of arrangements like this version of Grainger’s Blithe Bells – there are also more straightforward versions of songs originally written for voice and piano, where either the clarinet or the cello takes the voice part. Britten’s arrangement of The Salley Gardens or Falla’s Suite Populaire Espagnole are two examples – though the three instruments come together for the final Jota of the latter work. Elsewhere, first one instrument then another takes the melody – as in The Last Rose of Summer – or the cello, say, takes a more accompanying role – as in Gershwin’s The Man I Love. But it’s the performances themselves which really stand out. One has only to hear Bgosavljevic’s impassioned reading of Ravel’s Kaddisch or Griffiths’ artful negotiations between the lyrical and the raucous in Kovács Sholem-alekhem,…