Discover the music of Australian composers, from Lisa Illean to Mark Isaacs.

This month features a new opera by Jake Heggie, dramas by Handel and Bantock, Sheku Kanneh-Mason and a treasurable new symphony by Mark Isaacs.

Master of affect and effect, offers juicy climaxes and hummable tunes.

Cameron Lam’s monthly Australian Art Music playlist features all the latest releases across Classical, Jazz, and Sound Art.

Cameron Lam’s monthly playlist covers Classical, Jazz and Sound Art that adventures across land, sky and sea before returning to the comfort of home.

Isaacs takes us on a picturesque musical journey, but maybe skip the booklet notes.

A substantial, complex and powerful work which deserves to be heard on the acoustic instruments of a full symphony orchestra

Named for an Aboriginal word meaning pipe or flute, Ulpirra Sonatines places Ross Edwards and Mark Isaacs – who joins flautist Melissa Doecke on this disc – alongside Poulenc and Dutilleux. The disc opens with the lush first movement of Isaacs’ Sonatine, Doecke soaring over Isaacs’ undulating piano. The recording catches the complex edge of Doecke’s sound as she produces ethereal harmonics and earthy flutter-tonguing. Isaacs’ The River for alto flute and piano revels in the velvet sound of the lower instrument, while providing plenty of opportunity for Doecke to sweep up through the range with a light, flitting agility. The colour and virtuosity of Edwards’ Nura has no doubt contributed to its popularity in the flute repertoire. Wild Bird Morning channels Messiaen while Ocean Idyll is eerily tranquil. In this performance the normally fiery Earth Dance is given a carefully paced, detailed treatment. Doecke’s clean sound winds meditatively above gently flowing water in Edwards’ Water Spirit Song, originally a work for cello, while Ulpirra dances playfully. After this, it is jolting to be thrust into 20th-century neo-classicism with Poulenc’s oft-performed Sonata. Doecke’s tone is honeyed, however, as she… Continue reading Get unlimited digital access from $4 per month Subscribe…

Mark Isaacs reveals how, in his imaginative new chamber symphony, it will be the voice that rocks the cradle. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Hush Live in Concert is the 14th in a series of albums released to calm and comfort families facing stressful medical procedures. It’s a compilation of Hush Foundation recordings selected by former ABC Classic FM presenter Emma Ayres. Opening with two of Paul Grabowsky’s Ten Healing Songs, it is apparent that this is anything but the conventionally soothing ‘Debussy for Daydreaming’ or ‘Relaxation Made Easy’ album. Andrea Keller’s A Castle for All is oddly uplifting as it cycles repetitively through the same series of chords. Brass, wind and percussion instruments appear to improvise around Keller’s piano, and while it has plenty of musical tension, the overall feel is not a dark one. Tony Gould’s Gentle Conversations is as it sounds – a smattering of percussion, a gentle pulse, and a layering of instruments simulate just that. Though magnificently played by the Grigoryan brothers, Songs with Strings is perhaps a touch too intense and emotionally confronting for this album. Mark Isaacs’ romantic and visually evocative The Wind in the Willows is more fitting; one can imagine a little bushland animal emerging from the tooting of Geoff Collins’ flute. The childlike journey… Continue reading Get unlimited digital access from $4 per month…

Hush Live in Concert is the 14th in a series of albums released to calm and comfort families facing stressful medical procedures. It’s a compilation of Hush Foundation recordings selected by former ABC Classic FM presenter Emma Ayres. Composer/pianist Paul Grabowsky states in the notes: “music has its roots in healing, dreaming, and story-telling”. Opening with two of his jazzy Ten Healing Songs, it becomes apparent from the outset that this is anything but the conventionally soothing Debussy for Daydreaming or Relaxation Made Easy style album. Andrea Keller’s A Castle for All is oddly uplifting as it cycles repetitively through the same series of chords. Brass, wind, and percussion instruments appear to improvise around Keller’s piano, and while it has plenty of musical tension, the overall feel is not a dark one. Tony Gould’s Gentle Conversations is as it sounds – a smattering of percussion, a gentle pulse, and a layering of instruments simulate just that. Though magnificently portrayed by the Grigoryan brothers, Songs with Strings is perhaps a touch too intense and emotionally confronting for an album attempting to reduce stress. Mark Isaacs’ romantic and visually evocative The Wind in the Willows is more fitting; one can just imagine a…

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…