Ross Edwards introduces his new double concerto for saxophonist Amy Dickson and percussionist Colin Currie. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Hosted by APRA AMCOS and the Australian Music Centre, the awards recognise excellence in new Australian music. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

A majestic and noble memorial in the grand tradition of great orchestral choral music. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

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It’s hard to believe such an accomplished, distinctive Australian work only had its European premiere last year with Olding, the SSO and Ashkenazy at the Edinburgh Festival – the present disc makes a strong case for its reappraisal abroad. Ross Edwards’ 1986 concerto remains his finest work, composed when his “maninyas” style of dance rhythms, inspired by insect life in the Australian bush, was still fresh and immediately gripping. The Adelaide Symphony imbues the hushed opening strains with subtle warmth while violinist Adele Anthony introduces delicate pizzicato, as gentle and exploratory as a cicada opening its wings for the first time. The orchestra’s crisp syncopations grow lively and buoyant throughout the movement. By contrast, the soloist’s contemplative, extended cadenza is a dazzling display of her interpretive powers: impeccable intonation and finely judged portamenti add a personal touch. The final movement, marked “ecstatic”, basks in Edwards’ unique brand of mysticism in nature as indigenous wooden clapping sticks beat out the pulse of life and Anthony takes darting, fervent passages at a rapid pace. The Sibelius Violin Concerto is the work with which Adelaide-born Anthony won the ABC Instrumental and Vocal Competition at the age of 13. It’s a surprisingly effective… Continue reading…