Reviews, reports, press (AMC)
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Reviews, reports, press (AMC)
Reviews/reports/press coverage of Australian music
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Paul Cutlan: Across the top (The NOISE et al. - CD review)

By BA, Limelight (October 2015)

 

"Improvisation and world music, when they do occure, are used to enhance Cutlan's compositional ideas, and his sense of tonal colour and instrumental textures are indeed highly alluring'"

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Lisa Moore at DiMenna Center (Kate Moore)

Lisa Moore at DiMenna Center (Kate Moore) | Reviews, reports, press (AMC) | Scoop.it

By David Allen, The New York Times (8 June 2015)

"Lisa Moore's lucid, committed pianist made the best of four works, each dealing with an aspect of landscape or nature...

 

...Kate Moore’s “Sliabh Beagh,” a trancelike, Glass-influenced reflection on the composer’s Irish-Australian heritage."

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X-ray Baby - ARCKO Symphonic Ensemble (CD review - Hsieh, Neal, Martin)

X-ray Baby - ARCKO Symphonic Ensemble (CD review - Hsieh, Neal, Martin) | Reviews, reports, press (AMC) | Scoop.it

By Alistair Noble, The Music Trust musictrust.com.au (1 June 2015)

 

"(Annie Hshieh's) Icy Disintegration is a beautiful, strong work, inspired by the great drama of melting icebergs. While the thundering rumbles, creaks, groans and whistles of the disintegrating ice bring our real fears about climate change to mind, there is also a pleasure in this work that delights in the wild forces of nature. This performance is vivid and colourful, bringing out the inherent poetry of Hsieh’s orchestration."

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Opera Scholars Australia (Gordon Kerry)

Opera Scholars Australia (Gordon Kerry) | Reviews, reports, press (AMC) | Scoop.it

By Martin Duffy, The Age (29 May 2015)

 

"Opera Scholars Australia revels in Grimm tales set to imaginative score."

 

"The on and off-stage chorus is an integral element of each scene, playing an important narrative role as well as adding to the dramatic tension. All aged under 24, these talented young singers made much of Kerry's well-cast vocal material."

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RealTime Arts: Totally Huge New Music Festival 2015

RealTime, May 2015

 

RealTime on-site at TURA’s Totally Huge New Music Festival in Perth. Matthew Lorenzon, joined by local writers Laura Halligan and Alex Turley, delivers daily reviews of concerts, installations and events across the 10-day festival.

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QSO & Alondra de la Parra (Chan)

QSO & Alondra de la Parra (Chan) | Reviews, reports, press (AMC) | Scoop.it

By Clive Paget, Limelight (16 May 2015)

 

"So, what of those premieres? The best first. Sydney composer Lyle Chan’s Untitled (2014) is so named because what was intended to be a riotous concerto for orchestra was interrupted in its gestation by the events of the Sydney siege last year. As it is, the party still starts with a bang – an essentially tonal knees-up combining a brash big-band vibe with rock drums, Latin-infused brass and a kind of hoe-down in the strings. Well-crafted, and pretty-well orchestrated it developed expertly until a siren and a collapse into hushed, agitating harp and bowed percussion."

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Metropolis: Zubin Kanga, Dark Twin (Blinkhorn, Carey, Day, Hope)

Metropolis: Zubin Kanga, Dark Twin (Blinkhorn, Carey, Day, Hope) | Reviews, reports, press (AMC) | Scoop.it

by Matthew Lorenzon, partialdurations.com (12 May 2015)

 

Blinkhorn’s FrostbYte: Chalk Outline is an audiovisual piece contrasting pristine Arctic waters with industrial infrastructure. The Chalk Outline of the title refers to the climate change, exacerbated by industrial activity, that is rapidly transforming the landscape. Blinkhorn created the piece with video and audio material he collected while travelling in areas of the Arctic. The musical accompaniment to the footage of the Arctic landscape is fittingly tinkly, high and “icy.”

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Australia Piano Quartet (Symonds, Kelly)

Australia Piano Quartet (Symonds, Kelly) | Reviews, reports, press (AMC) | Scoop.it

Peter McCallum, The Sydney Morning Herald (11 May 2015)

 

"(In Symonds's work',) the four players were initially placed around the audience, producing harmonies and counterpoints in quadraphonic separation, leaving it to the listener to, so to speak, join the dots and bring them together as a chord or counterpoint."

 

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Sydney Chamber Opera: Fly Away Peter (Gyger & Wilcox)

By David Larkin, bachtrack.com (4 May 2015)

 

"Gyger’s score had great sonic variety, the more remarkable given the restrained palette with which he was working (the forces were the same as in Stravinsky’s Histoire d’un soldat, which poet and composer credited as their departure point."

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Metropolis: Speak Percussion, Between Two Parts there is an Intermission of a Hundred Thousand Years

Metropolis: Speak Percussion, Between Two Parts there is an Intermission of a Hundred Thousand Years | Reviews, reports, press (AMC) | Scoop.it

By Matthew Lorenzon, Partial Durations blog (5 May 2015)

 

"...Peter de Jager, Alexander Garsden and Jeanette Little ... are each at a pivotal moment in their careers. Each composer can comfortably forgo the term “emerging” in their biographies, though they are still “young” composers. They inhabit a no-man’s land between the important but largely unpaid opportunities open to students and the networks of commissioners of established composers.  Speak Percussion’s commissions, supported by the Australia Council for the Arts, showed each composer settling into and refining their individual style."

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Fly Away Peter review (Carriageworks, Sydney)

Fly Away Peter review (Carriageworks, Sydney) | Reviews, reports, press (AMC) | Scoop.it

By Ben Neutze, Daily Review by Crikey (5 May 2015)

 

"SCO’s latest world premiere, an adaptation of David Malouf’s 1982 novel Fly Away Peter, is a work of dramatic and musical integrity which manages to, in moments, tug at the heartstrings as well as any of the great classic tragic operas."

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Sydney Chamber Opera: Fly Away Peter (Gyger & Wilcox)

Sydney Chamber Opera: Fly Away Peter (Gyger & Wilcox) | Reviews, reports, press (AMC) | Scoop.it

By Harriet Cunningham, The Sydney Morning (3 May 2015)

 

"Every line in Gyger's score tells, from the airy vibrations of the percussion to the urgent bass, and it is delivered with what feels like razor-sharp precision."

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Sydney Symphony Orchestra (Ledger)

Sydney Symphony Orchestra (Ledger) | Reviews, reports, press (AMC) | Scoop.it

By Peter McCallum, The Sydney Morning Herald (23 April 2015)

 

"'War Music' for chorus and orchestra was one of the strongest scores I have heard from West Australian based James Ledger. In the first part, ominous, sometimes militaristic ideas mixed with scattered sounds, bumps and fleeting fragments in finely textured music that loomed in waves towards peaks of intensity, serenity and portentousness..."

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Joe Twist: Dancing with somebody (album review)

By Gordon Hamilton, Limelight (October 2015)

"Like Nico Muhly, Twist ignores the line between 'classical music' and 'album' with taste and energy. Let's hear more!"

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Spence-Williamson-Cantillo: Begin (album review)

Spence-Williamson-Cantillo: Begin (album review) | Reviews, reports, press (AMC) | Scoop.it

By Ken Waxman, The Whole Note (3 June 2015)

 

"Constantly pushing each of the tracks forward, the pianist’s world view is as wide as the Australian outback, emphasizing attention to cultivated detail that melds Keith Jarrett’s exploratory feints, dynamic jabs à la Cecil Taylor and the bouncy playfulness of Paul Bley, usually simultaneously. Hear this at work on Place, where after probing piano innards and hammering the keys, Spence unexpectedly bursts out with a textbook definition of jazz swing."

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Piano Inside Out. Works by Gyger, Vines, Rojas, Young, Whale, Page and Moles (Zubin Kanga, Move CD review)

Piano Inside Out. Works by Gyger, Vines, Rojas, Young, Whale, Page and Moles (Zubin Kanga, Move CD review) | Reviews, reports, press (AMC) | Scoop.it

By Gordon Kerry, The Music Trust (musictrust.com.au, 1 June 2015)

 

"Music for prepared/fortified/enhanced piano could have no better advocate than Zubin Kanga, as his new CD Piano Inside Out unequivocally demonstrates. And, as in a good old fashioned recital, the repertoire that Kanga presents is widely varied on style and manner, demonstrating both the breadth of technique and expression made possible by the various enhancements, and Kanga’s generous musical spirit."

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Australia Ensemble (Butterley)

Australia Ensemble (Butterley) | Reviews, reports, press (AMC) | Scoop.it

By Peter McCallum, The Sydney Morning Herald (24 May 2015)

 

"Nigel Butterley's Spindles of the Stars  (flute, clarinet, violin, cello and piano) inhabits a different cosmology evoking the way stars – metaphorically divine light – are wound into creation. Like several of Butterley's works, it took inspiration from the poetry of Kathleen Raine.
It begins searchingly, introducing ideas of pointed rhythmic energy and swirling amorphous textures, before subsiding to a close of glowing calm. The Australian Ensemble's performance created distinctive colour and iridescence in an atmosphere of fluid, ever-changing movement."

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Jazzahead! (AAO, Wagilak songmen)

Jazzahead! (AAO, Wagilak songmen) | Reviews, reports, press (AMC) | Scoop.it

By Henning Bolte, All About Jazz (11 May 2015)

 

"A really challenging act, socially, both cultural and artistically challenging for the musicians and the audience, was the performance of the Australian Art Orchestra in which five jazz musicians, Peter Knight (electronics, trumpet), Paul Grabowsky (piano, musical director), Tony Hicks (reeds), and Niko Schäuble (drums), teamed up with two indigenous Australian vocalists, the wagilak songmen, David Wilfred and Daniel Wilfred, from the remote Arnhem Land."

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Canberra International Music Festival (Moore, Sculthorpe)

By Judith Cripsin, CityNews.com.au (9 May 2015)

 

"One of only two featured women composers in this festival, Kate Moore delivered the high point of yesterday’s program. Sandwiched between Peter Sculthorpe’s over-reaching Island Songs and John Adams’ arch-minimalist Shaker Loops, Moore’s Velvet was a tiny diamond in a sea of testosterone."

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Sydney Chamber Opera: Fly Away Peter

Sydney Chamber Opera: Fly Away Peter | Reviews, reports, press (AMC) | Scoop.it

By Alistair Noble, Partial Durations blog (12 May 2015)

 

"Elliott Gyger’s masterful opera, given a polished and committed première performance by Sydney Chamber Opera this week..."

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Natalie Williams: The Hildegard Project (interview)

Natalie Williams: The Hildegard Project (interview) | Reviews, reports, press (AMC) | Scoop.it

By Delia Bartle, cutcommonmag.com (3 May 2015)

 

"For my part in the process, I aim to nurture the voices of all whom I teach, and I work especially hard to encourage young female composers to pursue this career if they really feel driven towards the profession. There are many support systems and opportunities for women composers and I have been lucky enough to take advantage of those resources. "

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Bucking the trend (interview with Zubin Kanga)

By Maxim Boon, The Limelight (8 May 2015)

 

"In an increasingly conservative music landscape, pianist Zubin Kanga is a champion of the modern."

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Goldner String Quartet (Stanhope)

Goldner String Quartet (Stanhope) | Reviews, reports, press (AMC) | Scoop.it

By Peter McCallum, The Sydney Morning Herald (5 May 2015)

 

"Paul Stanhope's String Quartet No. 3 ... demonstrates a new phase in the exploration of Indigenous culture by classical composers, by a younger generation sensitive and deferential to issues of cultural ownership."

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Con completes a century

By Vincent Plush, The Australian (1 May 2015)

 

"In Sydney on May 6, 1915, the Conservatorium Orchestra of 53 players gave its first concert. Before an audience of 1000 people and presided over by three conductors, it performed a program of Beethoven, Elgar and Wagner, and a bracket of operatic numbers. The hall was part of the refurbished stables adjoining Government House, the Francis Greenway building that would become known as the Sydney Conservatorium of Music..."

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After Julia (Greenwell, Hope, Davies, Soddell, Milliken, Moore, Lowther, Priest)

After Julia (Greenwell, Hope, Davies, Soddell, Milliken, Moore, Lowther, Priest) | Reviews, reports, press (AMC) | Scoop.it

By Rosalind Appleby on rosalindappleby.blogspot.com.au (22 April 2015)

 

"The diversity and uniqueness of these pieces is something I’ve come to expect from Australian women composers and the near-capacity crowd responded with great enthusiasm. Two things struck me: we need more concerts like this especially given that 25 percent of our composers are women (more than almost any other nation in the world); secondly this is a far more interesting and useful cultural exercise than commissioning music about Australian war history."

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