For this concert, the Australian Romantic & Classical Orchestra boasted musicians from all Australian states and territories together with several Australian expats from all over Europe and the USA, and what a fine band it was for this first concert of the Orchestra’s current eastern seaboard tour.
Titled Midsummer Dreams, the program opened with Mendelssohn’s Overture to A Midsummer Night’s Dream, followed by two symphonies: Beethoven’s 8th, with Mendelssohn’s 3rd, Scottish, following interval.
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Again, leading from the violin, Beesley produced some very refreshing interpretations of volume, note values, phrasing and timing. Like the Overture, Beesley led at a lively tempo all the way through. The orchestra responded superbly to every one of her calls of expression, colour and textures.
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…with sustained applause for the Australian Romantic & Classical Orchestra. Its founder, the late Richard Gill, would have been proud.
Clinton White, Limelight (31 July 2023)
Photo: Bradley Kanaris
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“Given the quality of the musicians, it seems superfluous to mention that the work was superbly played, with fastidious attention to detail, and each of the nine instruments given opportunity to shine.”
There is something very special about being in the room when it happens and highly skilled musicians are creating before your very eyes. This was the feeling that washed over as the nine musicians of the Australian Romantic & Classical Orchestra launched into the opening bars of Louise Farrenc’s Nonet in E flat major, op.38.
Bill Stevens OAM, Australian Arts Review (20 June 2023)
Image: Peter Hislop
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“The second movement was made for clarinet, and Sherry and van Bruggen shine here in what is a protracted dialogue between the two in long legato phrases...”
Aryan Mohseni, State of the Art (5 June 2023)
Image: Robert Catto
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“…The ensemble’s handling of Beethoven’s Septet was exemplary, with the interweaving of strings and winds in the melting Adagio cantabile a memory to cherish.”
“…she [Anneke Scott] negotiated challenging passages with spot-on intonation and articulation. I haven’t heard such impeccable playing on this extraordinarily difficult instrument in a long time.”
“…Australian Romantic & Classical Orchestra co-artistic director Nicole van Bruggen’s clarinet combined beautifully with Tatjana Zimre’s oboe for some soaring passages while flautist Georgia Browne’s deft playing was a delight.”
Limelight, (4 June 2023)
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“Rapturous applause for Australian Romantic & Classical Orchestra”
“…There was again this special rapport between the players, which felt like a conversation. In the opening the strings’ melodies descended, while the clarinet soared in response. Mozart swapped motives between the instruments, making them all equal partners in conversation. The second movement was particularly serene when Nicole used the lower notes of her basset clarinet. Throughout this Quintet she played expressively with expertise, like the virtuoso (Anton Stadler) it was written for. The music became increasingly cheerful towards the end. This innovative work was like an old friend to me, but this time the friend was historically informed.”
Heidi Hereth, classikON (March 22 2023)
Image: Teniola Komolafe
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“Violinist Peter Clark wears his delight in the music on his sleeve, swooning over phrases, ending others with extravagant flourishes, frequently smiling encouragement and approval to his colleagues, who, relaxed and confident in their playing, were happy to respond.”
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“…This set the tone for the evening because apart from the stunning musicianship on display this work turned into a delightful musical conversation between the four instrumentalists.”
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“…These provided van Bruggen with the opportunity to display her brilliant technique and mastery of her instrument, as well as provide an exciting conclusion to a superb concert.”
Australian Arts Review, 21 March 2023
Image: Hikari Photography
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5 stars
This concert showcased the unique opportunities the Australian Romantic & Classical Orchestra offers to Australian audiences in respect of historically informed performance.
The title ‘Viennese Vogue’ is apt to draw attention to the vagaries of Viennese musical taste in the Classical and Romantic eras, wavering as it did from one style to another in the space of a few years. But, in particular, this concert was an exploration, if not a veritable tour de force, of the versatility of the clarinet, which was then in its infancy as an instrument finding its place among the expanding forces of European chamber music…
State of the Art, March 20, 2023
Image: Teniola Komolafe
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“The fine ensemble blend and communication between ensemble members in this opening work and the works to follow was a pleasing feature of this concert.”
“…I was particulary touched anew by the expressive, reverent treatment of the variations in the final movement. There was plenty of space in the delivery. Simon Oswell’s viola line in the minore variation was particulary plaintive and rang out above the musical fabric. There was efficient and exciting interplay or conversation between Peter Clark and Julia Russoniello’s violin lines in this and all movements.”
“…Peter Clark’s delivery of the melody above the solid viola and cello sound here soared in clear, even voice. There were HIP portamento effects included and a good forward momentum to the phrasing, which made us wish this was not an unfinished chamber work.”
Sydney Arts Guide, 19 March 2023
Image: Teniola Komolafe
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“Nicole van Bruggen owns one of the rarest and most historically significant instruments in Australia, partly invented by Mozart. Yet her basset clarinet is just 20 years old.”
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“It’s a copy of the exact basset clarinet built by Theodore Lotz in Vienna and played by Anton Stadler, Mozart’s favourite clarinet player,” Sydney-born van Bruggen explains.
Only two pieces were composed specifically for the basset clarinet, both by Mozart: his Clarinet Concerto and Clarinet Quintet in A major.
Van Bruggen, who is performing a program with the Australian Romantic & Classical Orchestra that includes the clarinet quintet, likes to quote an 18th-century music critic seeing the basset clarinet for the first time.
“The critic said it has a bulbous section which sticks out sideways, and could be used for a smoking pipe.”…
Sydney Morning Herald, 13 March 2023
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“At this point the audience realised they were about the hear something very special. We were not disappointed!”
Enticingly entitled Viennese Vogue, this program of chamber music for strings and clarinet featured the music of three Viennese composers of the late 18th and early 19th century.
Classic Melbourne, 10 March 2023
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