Cello and piano sing a Southern Hemisphere’s ode to the North.

An outstanding Vaughan Williams from Emma McGrath and the TSO to bid farewell to the 2017 season.

Contemporary orchestral works usher in a wild Winter's Warmth.

A reliable repertoire graces the new self-titled release from Charmian Gadd and Phillip Shovk. Recorded two years ago at the Sydney Conservatorium of Music, the album features three sonatas for violin and piano. All in major keys, the works offer a chance to carve out an hour-or-so and indulge in some fine 19th-century music. Gadd’s timbre on violin is luscious with high frequencies in the opening Brahms Violin Sonata No 1 in G. Shovk burbles away with a neat brush of the keys, which satisfies the need for a fuller and warmer foundation of sound. In his notes, Shovk informs us this work is in the style of Beethoven – perhaps a reason he chose the master’s Sonata No 10 in G to complete the album. But sandwiched between these two legendary composers is Fauré: his Violin Sonata No 1 in A. A pivotal work in the chamber repertoire, Fauré’s music is composed and performed with affection (except during the rumbling momentum of the Allegro vivo). The Beethoven eventually arrives with a frisky little trill, instruments echoing each other before joining in rhythmic unison. In this Allegro moderato, Gadd and Shovk bare their abilities to respond acutely to each other’s musical approaches….

An evening heavy with baroque, tango... cider and apple pie.

Howard Shelley’s relationship with the Tasmanian Symphony Orchestra goes way back. The British performer has recorded about 13 albums with the TSO, and returns for Czerny’s Piano Concertos released on Hyperion. As usual, Shelley adopts equally the roles of conductor and pianist. The Concerto in F Major, Op. 28 that launches the album hints at quaintness, interspersed with thick orchestral power. And this is all before we hear Shelley press the keys, entering after an agreeable three minutes. His performance is majestic – yet there’s a humbleness and reliability, and that marks the essence of Shelley. The Piano Concerto in A Minor, Op. 214 gets off to a cunning start. The first movement has the mighty ending of a finale, then settles into a somewhat peaceful Adagio con moto. The Rondo Brillant in B Flat is a standout, showcasing Shelley’s virtuosity across the instrument’s range. Two concertos are recorded here for the first time. A child prodigy who grew up to perform Beethoven’s concertos, Czerny’s own are buried among his countless studies; along with chamber music, masses, symphonies, and more. When it comes down to it, Czerny’s works on this album are fairly unremarkable – but that doesn’t deem them…

Germany’s Dorothee Oberlinger has released a golden new offering with Ensemble 1700, Rococo – Musique à Sanssouci. The album is filled with baroque gems, which unveil the charms of the recorder in a chamber setting. Oberlinger opens with a sense of longing in Gottfried Finger’s A Ground. Her performance is so enchanting that a minute passes before I notice the continuo on a conscious level. The recorder’s airy timbre competes with Oberlinger’s audible breaths, captured with clarity and honesty.The balance with the ensemble is well considered – particularly in Handel’s Concerto Doppio in C Minor for recorder and bassoon. Here Oberlinger merges into the strings and becomes a different player; spirited and concise. A Johann Gottlieb Graun concerto evolves to a fuller sound: the robust string presence hails this new mood before returning the focus to Oberlinger in a Quantz recorder solo from Fantasien und Präludien. In skillful programming, the harpsichord returns in the CPE Bach piece, and the recorder is further layered with viola and continuo in the music to follow.   Oberlinger shares the spotlight with the music itself, in contrast to albums from leading Australian recorder players Genevieve Lacey and Alicia Crossley, whose releases – though magnificent…

Hitting play on Grant Foster’s world premiere recordings – When Love Speaks – I am nicely settled and ready to pen my review. What I am not ready for is the raw romance of this solo pianist and composer; to be struck and emotionally swayed by his music in less than five seconds flat. What is this beautiful work? Romance in C Sharp Minor brings us the feel of its title, and holds nothing back – while powerful, it exposes a vulnerability that reaches the heart. Romance in C follows, leading us into a gentler introspection. After its soothing introduction, a pure melody line with just enough harmonic support tells us its story; Foster continues this style through each piece. We hear rises and falls one would expect from Romantic works written more than a century ago. Foster’s music is ambitiously reminiscent of the greats, notably Chopin and Rachmaninov, but with an accessible human touch. I nearly leap out of my seat when I hear the Piano Sonata, which opens with a darkness successfully indicative of its dedication to those lost in war. Elegy is a stirring homage to Sir Robert Helpmann; and Six Preludes, like much of Foster’s work,…

Listening to music and the spaces in between at Dark Mofo.

Classical music in a contemporary venue.

A riveting release featuring five leading Australian composers.

Combining fine classical musicianship with pop hits from the 70s to 90s, is not your average mixtape.