Description
Bach and Beyond
Richard Tognetti and the Australian Chamber Orchestra won three consecutive ARIA Awards for their recordings of Bach. They join leading singers from Australia and the UK to perform Bach choral music for Easter, interwoven with 20th century music inspired by Bach.
“Tognetti and his 21-piece group can apparently play anything, and they play it all with tremendous verve.” San Francisco Classical Voice, 2009
Richard Tognetti, much awarded for his performances of Bach, has selected one mass, one motet and one cantata from Bach’s vast catalogue for this Easter tour. Two of Australia’s leading Baroque singers, Sara Macliver and Fiona Campbell, and two of the most exciting singers from the British vocal scene, Nicholas Mulroy and Matthew Brook, sing one voice per part. Expect deeply affecting, fearsomely virtuosic music-making.
Centuries later, Bach’s influence remains pervasive. Schoenberg, Pärt, Burrell and Shostakovich speak from different places and experiences, yet each grapple with Bach. Burrell conjures the sounds and atmosphere of the sea in a prelude and fugue with a title from the Lutheran Bible. Hypnotic and mystical, Pärt’s Summa sets the Credo and Schoenberg’s soprano soloist sings a heart-breaking Litany. First though, quirky music from Shostakovich.
SHOSTAKOVICH Elegy and Polka
J.S. BACH Missa Brevis in G minor, BWV235
PÄRT Summa
SCHOENBERG Litany from String Quartet No.2
J.S. BACH Motet: Lobet den Herrn, BWV230
BURRELL Das Meer, das so gross und weit is, da wimmelt's ohne Zahl, grosse und kleine Tiere
J.S. BACH Cantata: Wo gehest du hin? BWV166
Venue: Concert Hall
Dates: Sun 18 Apr 2.30pm
Duration: 2 hours
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Reviews
"For vitality, elegance, playfulness and technical prowess… it would be hard to top the ACO." San Francisco Chronicle, 2009
“[The ACO] plays everything with raw, high-spirited, rhythmically propulsive energy… Early music doesn’t get much hipper than this.” Los Angeles Times, 2009
“Hearing [the ACO] perform, you could easily believe that its kinetic, precise and engaging playing was simply too exuberant to be bottled up by sitting down.” New York Times, 2009