and Steven Osborne
Sunday 5th October
Australian Chamber Orchestra
Richard Tognetti director/violin
Steven Osborne piano
|Haydn||Symphony No 83, La Poule||24’|
|Mozart||Piano Concerto No 27||32’|
|Tchaikovsky||Souvenir de Florence||35’|
The Australian Chamber Orchestra is a byword for freshness and energy, and from Haydn’s explosive Parisian Symphony to Tchaikovsky’s sun-drenched postcard from Italy, this is a programme that plays to their strengths.
Richard Tognetti* directs a striking new work that Jonny Greenwood wrote especially for the ACO, and Steven Osborne finds new depths in Mozart’s Piano Concerto No 27.
Review by Norman Stinchcombe, Birmingham Post:
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… “Steven Osborne never gets in the music’s way. He sits at the piano stool – but the composer is always in the driving seat. In Mozart’s piano concerto No 27, for example, the central movement’s sublime melody was wonderfully shaped without resorting to prettification or excessive rubato and was never slowed down from its specified larghetto. The cadenzas didn’t obtrude with seams showing, and the allegro finale absolutely sparkled supported by excellent work from the ACO.
Tchaikovsky’s Souvenir of Florence was originally for string sextet but while the ACO used triple those forces the gain in sonority didn’t mean a sacrifice in transparency. The adagio’s interplay between first violin and cello had the ardour of an operatic duet – marvellous! In Jonny Greenwood’s Water the composer played with the band on one of two tanpura, a fretless lute. There are tinkling piano ostinatos, a little eerie nachtmusik and some Psycho-style abrasive strings – 17 minutes of movie music sans film.”
Review by Rian Evans, Guardian:
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… “The Radiohead guitarist had clearly drawn on their fluidity of movement for the piece that emerged. That movement was reflected, too, in the final title, Water, from Philip Larkin’s poem in The Whitsun Weddings. The effects of light bouncing off water created a distinct aura. Once again, strings were wrapped around pivotal instruments: two flutes and two Indian tanpura, the smaller of which was played by Greenwood himself, with Tognetti leaning in to deliver concertante violin lines. The tanpuras’ low, gently plucked droning gave the piece – in five interconnected sections – a constant deep resonance. Featuring amplified upright piano and keyboard, synthesising the sound of glockenspiel and celeste (nodding to the soundworld of Messiaen, yet without the use of ondes martenot), Greenwood’s soundscape was organic and persuasive. The rhythmic ostinati and the shimmering rise and cascade of scales, with rippling chromatic colour, created a more dynamic effect. Greenwood bowed as modestly as a novice; in fact, he is anything but.” …