Beethoven & Brahms: Violin Concertos album review as supple and coherent as ever as the ACO celebrates 50

"Over the past quarter of a century the Australian Chamber Orchestra has become a regular visitor to Europe, establishing itself as one of the world's foremost chamber bands. The group was founded in 1975, and this pairing of perhaps the two greatest violin concertos in the repertory is being released to mark the ACO's 50th birthday. The soloist and conductor in both works is Richard Tognetti, who has been the orchestra's leader and artistic director for the past 35 years."

"The close recorded sound very faithfully reproduces the intensely involving approach of the ACO when heard in the flesh, with its amalgam of modern playing techniques with the use of historical instruments (gut strings, period wind). For both concertos the orchestra's permanent core of 20 players was more than doubled with guest instrumentalists from other Australian orchestras, but the suppleness and coherence of its textures are as persuasive as ever."

"In the Beethoven especially, he favours urgency over lyricism, though that does not prevent his 27-minute account of the first movement of the Beethoven being one of the most expansive on record. In part that's because of the choice of cadenzas, which Tognetti describes as a synthesis of those composed for the concerto by Vieuxtemps (which bring back the timpani with which the concerto opens), Auer and Kreisler among others."

The Australian Chamber Orchestra celebrates its 50th anniversary with live Sydney recordings of Beethoven and Brahms violin concertos featuring Richard Tognetti as soloist and conductor. The performances combine modern playing techniques with historical instruments such as gut strings and period wind, and augment the orchestra's 20-player core with guest musicians. The close recorded sound captures the ensemble's immediacy and textural clarity. Tognetti's Beethoven emphasizes urgency and expansive pacing, using synthesized cadenzas from Vieuxtemps, Auer and Kreisler; the Brahms adopts Busoni elements, highlights exemplary woodwind solos, and maintains light, transparent textures. Interpretive choices may not suit all listeners.

Read at www.theguardian.com