Tonight the Australian Brandenburg Orchestra proved what a classical powerhouse they are. Known for their vibrant and dynamic performances, they breath 21st century life into centuries-old music on instruments just as the composers intended for their masterpieces. This evening at the City Recital Hall under the masterful direction of Paul Dyer AO, the orchestra presented dramatic, large-scale works such as the World Premier of an unearthed concerto by Ignaz Joseph Pleyel, the Australian Premier of a work by Antonio Salieri, and one of Wolfgang Amadeus Mozart’s most famous symphonies, forming the legacy of three composers working in Austria during the Golden age of music. For this performance the orchestra is an expended one with full brass, wind and timpani enhanced by a ninteen-piece string section.
SALIERI. Sinfonia from Cublai, gran Kan de Tartari
This was a coup for the Australian Brandenburg, performing the Australian premier of one of classical music’s most famous “lost” operas. Banned by censors for its biting political satire about the Russian Court and eastern autocrats that was incredibly sensitive for the Austrian Imperial Alliance. It was never performed during Salieri’s lifetime, where it languished till it was reprised in 2024.
Sinfonia is a striking piece of late -Eighteenth century orchestral music that serves as an introduction with a majestic opening to a brisk tempo driven by the strings, with a sweet flute accompaniment that ushers an exchange between woodwinds and the strings, before the full orchestral movement sweeps in with high energy and dramatic finish. Its gorgeous music thats a pleasure for listening .
MOZART. Divertimento for strings in D major, K136
One of Mozart’s most emotionally charged works is called a diversion (divertimento) owing to its lightheartedness designed to please the ear or to entertain. Completed in 1788, coincidentally in time for the discovery of the Antipodes, its the first of three symphonies he composed with a grand introduction but without a tail (Coda) according to musical historian, Nikolaus Harnoncourt. It is also said, but never proved, that Mozart modeled his symphony on Haydn’s Symphony No.26, which indeed was an influence that Mozart surpassed making comparisons meaningless.
The opening is majestic, fiery and grand with striking variety in all its parts. Mozart was just 16 years old with this piece becoming his cornerstone of the string repertoire referred sometimes to one of his Salzburg Symphonies. There is a glorious glow and presence to the sound performed by the ABO which heightened the appreciation of Mozart’s genius. Their playing was exuberant and virtuosic with sparkling violin dialogue that shifts unexpectedly into a restless accompaniment that is followed by the rhythmic sway of a polonaise where the melody is shared by the entire orchestra. The finale furnishes breathless energy and humour.
PLEYEL. Concerto for Violone in E-flat major
Ignaz Pleyel’s concerto reflects the elegance and melodic inventiveness of the early classical period. Composed between 1776 and 1780 this lost work was rediscovered by Robert Nairn, master of the violone who joined the ABO for the World Premier of Pleyel’s Concerto for Violone in E-flat major. He was thrilled at the prospect of playing this piece and contacted Paul Dyer, the Artistic Director of the orchestra who jumped at the chance of doing its premier.
It’s fantastically enormous piece of music at 28 minutes that hosts sparkle, depth and highlights, starting with a dramatic statement of the theme with the whole orchestra and soloist violone accompanying it. There is almost a Beethoven-esque opening says Nairn with a dramatic pulse right off the bat. It’s absolutely gorgeous with lots of twists and turns. The instrument is part of the viola da gamba family with up to six strings and master player Robert Nairn’s fretwork demonstrated the art of playing lower octaves with a virtuosic performance dazzling in his command and sensitivity. The length and excited applause was testament to the skill of soloist and orchestra
MOZART. Symphony No.39 in E-flat major, K 543
This was the anchor of tonight’s presentation. Navigating its unique demands from the magisterial E-flat major introduction to its blisteringly fast, witty finale was the highlight of tonight’s performance by the Australian Brandenburg Orchestra with tempo choices, structural balance and how effectively they nailed the prominent woodwind and clarinet parts. There’s a sonic excellence generated by the use of of period brass and timpani which burst to life with striking impact, paired against the modern strings. Paul Dyer, has certainly earned his sobriquet as one of Australia’s foremost specialist in historically informed performances, as he and his players took to the moderate tempos which were lively and energetic accompanied by its conductor on his forte piano with his flying style adding to the spice and sparkle. Symphony NO.39 is pure serendipity opening with a heavy rhythmic introduction that gives way to an elegant allegro. For me it had a festive magic-flute-like atmosphere that’s majestic without the pomposity when it segues to a graceful Menuetto that ends with a fluttering woodwind finale.
The orchestra delivered a clean, crisp articulation throughout including the zesty ending. The heroes were the woodwinds by a mile. The auditorium erupted with cheers and applause in appreciation of the incredible performance by this premier orchestra.
