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The Art of the Oboe – The Classical Era (Emma Black)

One of Australia’s finest classical exports releases her debut album, exploring the way Mozart, JC Bach and Johann Baptist Vanhal composed for the oboe during the Classical era.

Australian-born Emma Black is one of the world’s finest oboe players. The principal and solo oboist with the Wiener Akademie (Vienna) and Le Concert de la Loge (Paris), she also plays and records regularly with Musica Aeterna, Le Cercle de l’Harmonie, Concentus Musicus Wien and Les Talens Lyriques, and in Australia with the Australian Brandenburg Orchestra, the Orchestra of the Antipodes and Pinchgut Opera.

On her debut album, Black explores the development of the oboe in the Classical era through quartets by Mozart, JC Bach and Johann Baptist Vanhal. It was around 1770 when the oboe began to be featured as a solo instrument in chamber music, and these four quartets demonstrate how perfectly the sweet, lyrical sound of the instrument sits alongside the resonance of the string instruments. Joined here by three superb musicians – Zoe Black (violin), Anne Harvey-Nagl (viola and violin) and Peter Trefflinger (cello) – these quartets sparkle and delight.

The album also features something of a reclamation on behalf of the oboe: Mozart’s Concerto in D major, K314, was originally written for oboe but transcribed and popularised in a version for flute. Here, Black and her colleagues return the favour with their performance of Mozart’s Quartet in D major, KV285, was originally written for flute but here recovered for oboe.

This recording, as part of Black’s PhD project, is the first in a series of four showcasing the four main types of oboes played today: Baroque, Classical, Romantic and modern

TRACKLISTING

JOHANN CHRISTIAN BACH Quartet in B-flat major, B60

1 I. Allegro 7’57

2 II. Rondeau grazioso 4’27

WOLFGANG AMADEUS MOZART Oboe Quartet in F major, KV370 / 368b

3 I. Allegro 9’26

4 II. Adagio 3’05

5 III. Rondeau allegro 4’41

JOHANN BAPTIST VANHAL Oboe Quartet in F major, Op. 7 No. 1

6 I. Allegro moderato 4’52

7 II. Cantabile 4’52

8 III. Menuetto 3’18

9 IV. Presto 4’54

WOLFGANG AMADEUS MOZART Oboe Quartet in D major, KV285

10 I. Allegro 7’20

11 II. Adagio 2’56

12 III. Rondeau 4’54

WOLFGANG AMADEUS MOZART

13 Adagio in G major, KV580a 5’53

Release
Ahead of NAIDOC Week 2020 and AUSMUSIC month throughout November, ABC Music/Universal Music Australia is proud to present Deadly Hearts – Walking Together, the third instalment in this popular series. Previous ‘Deadly Hearts’ releases have focused on songs that are iconic to traditional Australian culture and identity. This year, the reigns have been handed over to a new generation of storytellers, with the call for artists to take on a song that is iconic to them, a song that has inspired them or a song that holds a special place in their identity. The response we received was nothing short of remarkable; from the pure electro-pop joy of Mitch Tambo’s Gamilaraay language version of Vanessa Amorosi’s ‘Absolutely Everybody’ to Miiesha’s soulful rendition of Brooks and Dunn’s ‘Neon Moon’ to Isaiah Firebrace & Stan Walker collaborating and covering the timeless Don’t Dream It’s Over originally by Crowded House, to the all-out metal madness of Southeast Desert Metal’s take on a Midnight Oil classic ‘Beds Are Burning’. In short, it’s a celebration of music, culture, and identity, from the hearts and mouths of a new generation. “Being asked to be on Deadly Hearts I knew I wanted to have my community involved as much as possible,” Miiesha said of her Deadly Hearts song choice. “We go mad for country music up here so picked one of our favourites ‘Neon Moon’ by Brooks and Dunn and got a Woorabinda Choir together to show off some of the deadly talent up this way!” Other artists, like Mitch Tambo, took inspiration from the NAIDOC 2020 theme ‘Always Was Always Will Be’. “ [It’s] the perfect opportunity to further your learning around the history of the peoples of the land in which you live on to not only equip and educate yourself but to play a part in the greater dialogue of all of us coming together as one to face the whole truth of our beautiful nation so we can journey together, healing and loving one another one step at a time,” Tambo said. In a time where so many of us are isolated Deadly Hearts: Walking Together has managed to weave voices from all around Australia into one powerful release. Deadly Hearts: Walking Together offers listeners the opportunity to hear DRMNGNOW recording out  on country nearby Kaiela (Goulburn River) amongst the birds, the wind and waters, join Miiesha and the choir in Woorabinda and so much more without ever leaving their lounge room. This is the modern sound of Indigenous Australia. This is the next generation of storytellers. This is Deadly Hearts: Walking Together.   TRACKLIST: 1.    Ziggy Ramo (Ft. Miiesha) – Tjitji (Miiesha) 2.    Kobie Dee – A Long Way Away From My Country (Ernie Dingo) 3.    Miiesha – Neon Moon (Ft. The Woorabinda Singers) [Brooks and Dunn] 4.    DRMNGNOW (Ft. Emily Wurramara – Get Back To The Land (Archie Roach) 5.    Mitch Tambo - Absolutely Everybody (Vanessa Amorosi) 6.    Sycco – Solid Gold (Pnau) 7.    Aodhan – Always (Tia Gostelow) 8.    Mi-Kaisha – How Deep Is Your Love (Beegees) 9.    Isaiah Firebrace + Stan Walker – Don’t Dream It’s Over (Crowded House) 10.  Southeast Desert Metal – Beds Are Burning (Midnight Oil)   Album cover art:  by Kambarni       Kambarni is descended from the Nimunburr and Yawuru people of the Kimberley and the Ballardong Noongar people of the Perth region in Western Australia. He is an emerging illustrator who reflects the natural world with his intricate designs.   WALKING TOGETHER: An ABC-wide initiative to reflect, listen and build on the shared national identity of Indigenous and non-Indigenous people, celebrating and acknowledging Aboriginal and Torres Strait Islander culture and inviting all Australians to walk together on a journey to reconciliation. ABOUT NAIDOC WEEK: NAIDOC 2020 invites all Australians to embrace the true history of this country – a history which dates back thousands of generations. It’s about seeing, hearing and learning the First Nations’ 65,000+ year history of this country - which is Australian history. We want all Australians to celebrate that we have the oldest continuing cultures on the planet and to recognise that our sovereignty was never ceded. Always Was, Always Will Be.   BEHIND THE SONGS - AN INSIGHT FROM EACH ARTIST:   Ziggy Ramo (Ft. Miiesha) – Tjitji (Original by Miiesha) “Miiesha is such an incredible artist. I was blown away by her album. She is a storyteller that is so giving. Listening to Tijtji I felt compelled to tell my story. It was such a privilege to be able to sample her art and offer my own in return.”   Kobie Dee - A Long Way Away From My Country (Original by Ernie Dingo) "The song is about being away from his country and for me growing up on Bidjigal  land in Sydney and my country being Gomeroi in Moree I always related to the song which is why I chose to cover it"   Miiesha (Feat. The Woorabinda Singers) - Neon Moon (Original by Brooks and Dunn) “Being asked to be on Deadly Hearts I knew I wanted to have my community involved as much as possible. We go mad for country music up here so picked one of our favourites Neon Moon by Brooks and Dunn and got a Woorabinda Choir together to show off some of the deadly talent up this way!”   DRMNGNOW (Ft. Emily Wurramara) – Get Back To The Land (Original by Archie Roach) "I have been deeply in love with this song since first hearing it when it came out from first listen at which time i was living off country myself and feeling a deep longing inside for country. This song was something I would listen to regularly as a way of dealing with the challenge of living off country on Wurundjeri land.  I have since returned to My hometown of Mooroopna on Yorta Yorta country this year having felt strongly called home at this time. Mooroopna also happens to be Uncle Archies birthplace.  So, choosing this and it being the first song I would record here in this return, on so many levels just felt like the only choice It could possibly be. "   Mitch Tambo - Absolutely Everybody (Original by Vanessa Amorosi) ‘Absolutely Everybody’ is such an iconic song and embedded in Australian music history along with being the anthem of the 2000 Sydney Olympics. However, to me personally I chose this song as its message and lyrical bed still resonates with me and my message. “Everybody breathes and everybody bleeds” we are all human, we all feel, we all love, we all share differences and similarities, this song to me is a reminder that we must not forget to come together and love one another regardless of race, gender, religion or sexuality. We must acknowledge the hard truths so we can heal and move forward together as one.   Sycco - Solid Gold (Original by Pnau) "I thought Solid Gold would be a perfect song to cover because lyrically it is just so wholesome about lessons and loving your friends! It is also just such a fun song!"   Aodhan - Always (Original by Tia Gostelow) “I chose ALWAYS because it’s just a terrific track and I thought it could be interesting to cover it in a way that takes on a whole new meaning.”   Mi-Kaisha -  How Deep Is Your Love (Beegees) I chose this song because I felt our world needed some love & light. It has been an incredibly challenging season for our Mob and I just wanted to encourage my community to keep their heads up and to take care of themselves. I think it's so deadly that the BeeGees came from Redcliffe (where my mum was born)!. So, I have that personal connection to them. They've given us some deadly songs that have helped define popular music all over the world.   Isaiah Firebrace + Stan Walker - Don’t Dream It’s Over (Original by Crowded House) “Great songs are timeless and reflect not just their time but ours. Isaiah and I first performed this together at the NRL ALL STARS. Little did we know what 2020 had ahead for us all. When I think about BLM and I listen again to the lyrics I am so proud so be singing this with Isaiah.. two first nations artists singing these words TOGETHER in 2020 have a whole new resonance There is freedom within, there is freedom withoutTry to catch the deluge in a paper cupThere's a battle ahead, many battles are lostBut you'll never see the end of the roadWhile you're traveling with me   Southeast Desert Metal - Beds Are Burning (Original by Midnight Oil) We chose Beds Are Burning because it’s a great song. It’s got an important message. Midnight Oil wrote a lot about Indigenous rights. That’s something I write about in my own songs. Indigenous people are still struggling today. This land was stolen from us. In this song we’re saying it's time to give it back.” - Chris Wallace  
Release
The first-ever Jazz 100 was always going to be a hotly contested affair, with jazz lovers across Australia voting for their favourite jazz artists of all time. But after almost 30,000 votes cast, Miles Davis narrowly beat Ella Fitzgerald to the top spot, with Louis Armstrong taking third place.This 2CD album presents Australia’s top 10 jazz performers, along with a selection of highlights from across the full hundred artists, reflecting the extraordinary range and breadth of styles, moods, genres, instruments and ensembles. It reaches right back to Louis Armstrong in the 1920s and brings us up to the present day with Katie Noonan’s ‘Blue’, released earlier this year.Iconic names like John Coltrane, Sarah Vaughan, Dave Brubeck, Duke Ellington and Billie Holiday feature on the album alongside Australian legends including Don Burrows and James Morrison – who both placed within the top 10 – Judy Bailey, Vince Jones and The Idea of North. And from the latest generation of Australian artists, the album showcases Barney McAll, Kristin Berardi and Kate Ceberano.From solo piano to big band, blues to bossa nova, vocalists to vibes, sax, trumpet, guitar, drums, bass, this double album brings together 30 superb jazz tracks from the artists Australia has voted the best of the best.TRACKLISTING CD1                                                           [77’30] 1 Miles Davis (#1): All BluesMiles Davis trumpet, George Coleman tenor sax, Herbie Hancock piano, Ron Carter bass, Tony Williams drums 2 Ella Fitzgerald (#2): Mack The KnifeElla Fitzgerald vocals, Paul Smith Quartet 3 Louis Armstrong (#3): West End BluesLouis Armstrong and His Hot Five 4 John Coltrane (#4): A Love Supreme, Pt 1 – Acknowledgement John Coltrane tenor sax, McCoy Tyner piano, Jimmy Garrison bass, Elvin Jones drums 5 Dave Brubeck (#5): Blue Rondo à la TurkDave Brubeck Quartet 6 Duke Ellington (#6): CaravanDuke Ellington piano, Charlie Mingus bass, Max Roach drums 7 Don Burrows (#7): Squeeze MeDon Burrows clarinet, James Morrison piano, George Golla guitar, Craig Scott bass, Laurie Kennedy drums, The Adelaide Connection 8 Billie Holiday (#8): God Bless The ChildBillie Holiday & Her Orchestra 9 James Morrison (#9): A Night In TunisiaJames Morrison and the Morrison Brothers Big Bad Band 10 Nina Simone (#10): I Loves You PorgyNina Simone piano & vocals, Jimmy Bond bass, Al Heath drums 11 Bill Evans (#11): Waltz For DebbyBill Evans Trio 12 Charlie Parker (#18): Now's The TimeCharlie Parker Quartet 13 Diana Krall (#21): East Of The Sun (And West Of The Moon)Diana Krall vocals, Anthony Wilson guitar, John Clayton bass, Jeff Hamilton drums 14 Vince Jones (#28): Body And SoulVince Jones vocals 15 Sarah Vaughan (#30): MistySarah Vaughan vocals, Kirk Stuart TrioCD2                                                        [76’57] 1 Kate Ceberano (#42): SkylarkKate Ceberano vocals, Paul Grabowsky piano 2 Art Blakey (#44): It's Only A Paper MoonArt Blakey and the Jazz Messengers 3 Judy Bailey (#47): Waltzing MatildaJudy Bailey Trio 4 Sonny Rollins (#48): St. ThomasSonny Rollins tenor sax, Tommy Flanagan piano, Doug Watkins bass, Max Roach drums 5 Katie Noonan (#49): BlueKatie Noonan vocals, Zac Hurren tenor sax, Sam Keevers piano, Phil Stack bass, Evan Mannell drums 6 Sandy Evans (#51): Indigo HuesSandy Evans tenor sax, Andrea Keller piano 7 Andrea Keller (#54): FootprintsAndrea Keller piano 8 Astrud Gilberto (#57): The Girl From IpanemaAstrud Gilberto vocals, João Gilberto guitar & vocals, Stan Getz tenor sax, Antônio Carlos Jobim piano, Sebastião Neto bass, Milton Banana drums 9 The Idea of North (#58): My One and Only LoveThe Idea of North 10 Quincy Jones (#63): Hard Sock DanceQuincy Jones and His Orchestra 11 George Golla (#73): Lush LifeGeorge Golla Orchestra 12 Ray Brown (#80): Everything I LoveRay Brown Trio 13 Barney McAll (#83): Nectar SpurBarney McAll piano & vocals, Stephen Magnusson guitar, Jonathan Zwartz bass, Simon Barker drums, Mino Cinelu percussion 14 Kristin Berardi (#89): Where or WhenKristin Berardi vocals, Steve Newcomb piano, James Sherlock guitar, Julien Wilson tenor sax, Sam Anning bass 15 Milt Jackson (#95): Fred's MoodMilt Jackson vibraphone, Lucky Thompson tenor sax, Wendell Marshall bass, Kenny Clarke drums
Release
The cello’s rich, singing tones are a perfect match for the passionate eloquence of the Romantic era. In the masterful hands of David Berlin, Principal Cellist of the Melbourne Symphony Orchestra, partnered by internationally acclaimed pianist Benjamin Martin, the cello reveals its sublime range of colours and timbres.This intimate album presents radiant music for cello and piano from three masters of the French Romantic: the lyrical beauty of Chopin, the elemental power of Saint-Saëns, and serene elegance from Louise Farrenc.Frédéric Chopinis best known for his piano music, but his poetic genius also drew him inexorably to the cello – the only other instrument to which he gave pride of place as a chamber soloist, with three major works for cello and piano. Chief among these is his Cello Sonata in G minor, an intense emotional journey that ranges from poignant melancholy to dancing elation and hope, via a dream-like nocturne of exquisite calm.Louise Farrencwas a leading light in the musical landscape of 19th-century France. Celebrated during her lifetime as a composer, pianist and teacher – the only woman professor at the Paris Conservatoire, who insisted on and finally gained equal pay with her male colleagues – her music is now being rediscovered by new generations of music lovers. Her Cello Sonata blends Classical refinement and subtlety with striking harmonic textures and sparkling virtuosity.The almost ferocious energy of Saint-Saëns’ First Cello Sonata has more than a hint of Beethoven in the drama and declamatory power of its opening movement, but the clouds give way to pure sunshine for the middle movement – an Andante with a true spring in its step – before the tempestuous finale.The album closes with one of the best-loved cello melodies of all time: The Swan, from Saint-Saëns’ Carnival of the Animals. The cello’s lyrical line, gliding gracefully over the rippling harmonies of the piano, is the essence of tranquillity.For 35 years, David Berlin has been at the forefront of music performance in Australia, as Principal Cello of both the Adelaide Symphony Orchestra (1985–88) and the Melbourne Symphony Orchestra (since 1989), and as guest Principal Cello with the Sydney and Tasmanian Symphony Orchestras, the Australian Chamber Orchestra and the Australian World Orchestra. His chamber music partners have included Kolja Blacher, James Ehnes, Nigel Kennedy, Sarah Chang, Ian Bostridge, Garrick Ohlsson, Emanuel Ax and Yefim Bronfman, and he gave the world premiere performance of Liszt’s complete cycle of works for cello and piano with Leslie Howard, in London in 1992.Award-winning pianist Benjamin Martin has appeared regularly with the Australian Chamber Orchestra as well as partnering with such luminaries as Joshua Bell, Alina Ibragimova, Pekka Kuusisto and Hartmut Lindemann. He is a performer of exceptional intensity and subtlety of expression – ‘the consummate artist’, according to The Age – and also a highly regarded composer whose music has been performed around Australia and in the US.  TRACKLISTING FRÉDÉRIC CHOPIN 1810–1849Cello Sonata in G minor, Op. 65                                         [31’19]1 I. Allegro moderato                                                           16’192 II. Scherzo                                                                           5’083 III. Largo                                                                             3’354 IV. Finale: Allegro                                                                6’17 LOUISE FARRENC 1804–1875Cello Sonata in B-flat major, Op. 46                                   [23’02]5 I. Allegro moderato                                                             9’156 II. Andante sostenuto                                                          5’327 III. Finale: Allegro                                                                8’15 CAMILLE SAINT-SAËNS 1835–1921Cello Sonata No. 1 in C minor, Op. 32                                 [20’10]8 I. Allegro                                                                             8’429 II. Andante tranquillo sostenuto                                           5’2510 III. Allegro moderato                                                         6’03 CAMILLE SAINT-SAËNS11 The Swan                                                                         2’43 Total Playing Time                                                                77’26 David Berlin celloBenjamin Martin piano
Release
Jacqueline Porter soprano • Anna Dowsley mezzo-sopranoAndrew Goodwin tenor • David Greco baritoneIan Munro & Daniel de Borah piano Four hands at one piano, and four suberb voices, intimately intertwined: what better way to celebrate the delights of love? From teasing dalliance to passionate rapture, this album explores all the frustrations and joys of romance through the music of three great Romantic songwriters: Brahms, Mendelssohn and Schumann.Brahms’s Liebeslieder (Love-Song) waltzes blend the swirling grace of the Viennese ballroom with the expressive beauty of solo voices and the familiar comforts of the piano. Each song presents a different facet of love, with the four singers enticing each other – and us – to let nothing stand in the way of enjoying its charms.Five exquisite melodies by Mendelssohn show us love in a more tender guise: a night-time tryst on a Venetian gondola, messages carried on the breeze, autumn sorrows, quiet nostalgia for lost youth, and the poetic vision of Auf Flügeln des Gesanges (On Wings of Song).In his cycle of Spanische Liebeslieder (Spanish Love Songs), Schumann offers a more passionate vision of love, exploring its darker shadows as well as its brightest glories. Inspired by the exotic flavours of Spain – a land of mystery and sensuality to the Romantic mind – Schumann takes us on a journey of yearning and desire.About the Artists Soprano Jacqueline Porter has appeared with Victorian Opera, State Opera South Australia and Pinchgut Opera in roles including Gretel (Hansel and Gretel), Susanna (The Marriage of Figaro), Despina (Così fan tutte) and Drusilla (The Coronation of Poppea). Concert highlights have included Fauré’s Pelléas et Mélisande with the Sydney Symphony Orchestra, Bach’s St Matthew Passion with the Melbourne Bach Choir, and Beethoven’s Missa Solemnis with the Melbourne Symphony Orchestra.Winner of the 2019 Australian Opera Award, mezzo-soprano Anna Dowsley has performed with Opera Australia, Sydney Chamber Opera, New Zealand Opera and Pinchgut Opera, in roles such as Rosina (The Barber of Seville), Cherubino (The Marriage of Figaro), Dorabella (Cosi fan tutte), Lucretia (The Rape of Lucretia) and Siebel (Faust). On the concert platform, she has appeared with the Sydney, Adelaide and Queensland Symphony Orchestras and with the Royal Liverpool Philharmonic.Tenor Andrew Goodwin has performed a wide range of roles at some of the world’s greatest opera houses, including La Scala Milan, Gran Theatre Liceu Barcelona, Teatro Real Madrid and the Sydney Opera House. Notably, he is the only westerner to perform the role of Lensky at the Bolshoi Theatre. In Australia, he has appeared with State Opera South Australia, Sydney Chamber Opera, Pinchgut Opera, The Song Company and the Adelaide, Melbourne and Sydney Symphony Orchestras.Baritone David Greco has worked on the cutting edge of the early music movement in Europe, performing with the Amsterdam Baroque Orchestra, Freiburger Barockorchester and the Netherlands Bach Society. In 2014 he was the first international singer appointed a position with the Sistine Chapel Choir in the Vatican. He has appeared with Opera Australia, Glyndebourne Festival Opera and Pinchgut Opera, and is currently completing a PhD in the historical performance practice of Schubert.Pianist Ian Munro is one of Australia’s most distinguished and awarded musicians. After completing his early training in Melbourne with Roy Shepherd, he furthered his studies in Vienna, London and Italy with Noretta Conci, Guido Agosti and Michele Campanella, launching his international career in the UK. He has performed with leading orchestras throughout the UK, Poland, Italy, Portugal, Russia, USA, China, New Zealand, Belgium, Switzerland and Uzbekistan, and with all the leading orchestras in Australia in over sixty piano concertos.Since his prize-winning appearances at the 2004 Sydney International Piano Competition, Daniel de Borah has given recitals on four continents and toured extensively throughout the UK and Australia. He has partnered many leading soloists including Vadim Gluzman, Baiba Skride, Li-Wei Qin, Nicolas Altstaedt, Umberto Clerici, Roderick Williams and Steve Davislim, and appared in concertos with the English Chamber Orchestra, London Mozart Players, Royal Philharmonic Orchestra, Australian Chamber Orchestra and the Sydney, Melbourne, Adelaide and Auckland Symphony Orchestras.…/3TRACKLISTING              BRAHMS  Liebeslieder-Walzer, Op. 521.Rede, Mädchen, allzu liebes (Tell me, sweetest girl)2.Am Gesteine rauscht die Flut (The waves dash agains the rocks)3.O die Frauen (Oh, the women)4.Wie des Abends schöne Röte (Like a lovely sunset)5.Die grüne Hopfenranke (The vine’s green tendrils)6.Ein kleiner, hübscher Vogel (A pretty little bird)7.Wohl schön bewandt war es (All seemed rosy)8.Wenn so lind dein Auge mir (When you gaze at me so tenderly)9.Am Donaustrande (On the Danube’s shore)10.O wie sanft die Quelle (Ah, how gently the stream)11.Nein, est ist nicht auszukommen (No, it cannot be endured)12.Schlösser auf, und mache Schlösser (Locksmith, come,      make locks for me)13.Vögelein durchrauscht die Luft (A little bird flies through the air)14.Sieh, wie ist die Welle klar (See how clear the waves are)15.Nachtigall, sie singt so schön (The nightingale sings so sweetly)16.Ein dunkeler Schacht ist Liebe (Love is a dark pit)17.Nicht wandle, mein Licht (Do not wander out in the fields, my love)18.Es bebet das Gesträuche (The leaves tremble)               BRAHMS  In stiller Nacht (In the silent night)                               Die Schwestern (The Sisters), Op. 61 No. 1                               Die Meere (The Seas), Op. 20 No. 3    MENDELSSOHN  Ich wollt’ meine Lieb’ ergösse sich (I wish I could pour my loveinto a single word), Op. 63 No. 1                               Venetianisches Gondellied (Venetian Gondola Song), Op. 57 No. 5                               Herbstlied (Autumn Song), Op. 63 No. 4                               Auf Flügeln des Gesanges (On Wings of Song), Op. 34 No. 2                               Scheidend (Separation), Op. 9 No. 6         SCHUMANN  Spanische Liebeslieder (Spanish Love Songs), Op. 1381.Vorspiel (Prelude)2.Tief im Herzen trag' ich Pein (There is pain deep in my heart)3.O wie lieblich ist das Mädchen (Oh how lovely is the maiden)4.Bedeckt mich mit Blumen (Cover me with flowers)5.Romanze: Flutenreicher Ebro (Romance: O surging river Ebro)6.Intermezzo7.Weh, wie zornig ist das Mädchen (Alas, how angry the girl is)8.Hoch, hoch sind die Berge (High, high are the mountains)9.Blaue Augen hat das Mädchen (The girl has blue eyes)10.Dunkler Lichtglanz, blinder Blick (Dark light, blind gaze)
Release
Epic. Magnificent. Generous. Flowing. Majestic. Surprising. Overwhelming. And above all – Joyous.The two final symphonies of Johannes Brahms are undisputed masterpieces: passionate, intensely lyrical, a thrilling blend of grandeur and intimacy. In the hands of Richard Tognetti and the Australian Chamber Orchestra, these soaring yet deeply personal works spring to life, revealing new delights at every turn.For these performances, the ACO has expanded to include the unique colours of wind instruments from Brahms’ own world. The resulting sound, in the words of the Sydney Morning Herald review, was ‘a revelation: superbly blended horns and trumpets without the bright blare of a modern symphonic sound, an agile, liquid tone from flutes and clarinets and a gorgeous warmth in the lower wind and brass, all matched with a string sound with a bold but never harsh attack.’With a total size of around 50 players, these recordings show the ACO at its fullest strength, well beyond its usual compact forces, yet maintaining its trademark clarity and vitality. This is in line with the Brahms himself, who refused to allow the orchestra to be augmented beyond 48 players for the premiere of his Fourth Symphony.Here we encounter the full flowering of Brahms’ symphonic genius: a composer profoundly aware of the richness of his own musical heritage, yet determined to push the boundaries into new realms of expressive power. A musician utterly at home with the wild fire of gypsy music, yet finding inspiration for the finale of his Fourth Symphony in a chorale of J.S. Bach.A master of orchestral sonority, an artist with an unmatched understanding of musical architecture, and a poet whose musical language encompasses the breadth of human experience.‘Yet again, the ACO re-animated a glowing masterpiece that many of us thought held no more surprises.’ – Sydney Morning Herald‘One of the masterpieces of late-19th century music…the ACO’s rendition was intelligent and courageous.’ – The AustralianSince its establishment in November 1975, the Australian Chamber Orchestra has become one of the world’s most daring and exciting ensembles, renowned globally for its inspired programming, unrivalled virtuosity, energy and individuality, showcased through an extensive and ongoing program of international touring and recordings for many of the world’s top labels.                            TRACKLISTINGJOHANNES BRAHMS 1833–1897Symphony No. 3 in F major, Op. 90             [39’29]1  I.     Allegro con brio                                       13’492  II.    Andante                                                      9’553  III.   Poco allegretto                                           6’444  IV.   Allegro                                                        9’01 Recorded live in concert at Hamer Hall, Melbourne Symphony No. 4 in E minor, Op. 98            [39’31]5  I.     Allegro non troppo                                   12’516  II.    Andante moderato                                  11’127  III.   Allegro giocoso                                          5’558  IV.   Allegro energico e passionato                  9’33 Recorded live in concert at the Sydney Opera House Total Playing Time                                              79’00 Australian Chamber OrchestraRichard Tognetti Artistic Director and Lead Violin
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Listen to the first single from the album here.Two of Australia’s hottest young guitarists take us on a trip through time and around the world of classical guitar.“Andrew Blanch and Ariel Nurhadi are the rockstars of Nylon-Acoustic Classical music. Whilst their technicality as musicians are immediately apparent, so also is their love for music and performing.” On SoundsAndrew Blanch and Ariel Nurhadi are “two stunning young guitarists” (Sydney Arts Guide) who have been performing together since 2014, touring as a duo as well as with baritone José Carbó in The José Carbó Trio. They have been described as “breathtaking” (Canberra Critics Circle), and praised for their “dazzling guitar playing” (ArtsHub).Alchemy, their debut recording, takes us on a journey through history and around the world, through beloved works by Debussy, Rameau, Piazzolla, Albéniz, Falla and Granados. The album also features the acclaimed ‘Three Duets’ by the late Australian guitarist and composer Phillip Houghton – including ‘Alchemy’, the first piece that Andrew and Ariel performed as a duo and the piece after which this album is named.This is a gorgeous album, full of classic pieces beautifully performed, and announces major new stars in the already-glittering galaxy of Australia’s classical guitar community.Amongst the exciting emergence of a new generation of classical musicians, guitarist Andrew Blanch stands out. Armed with formidable talent, passion, and conviction, Andrew has carved out his own path to much acclaim. His independently released album ‘Spanish Guitar Music’ (2015) which Jim McCutcheon of Soundboard Magazine (USA) noted as “one of the best debut albums I’ve ever heard” marked the auspicious beginnings to a busy and multifaceted musical career today.As a soloist, Andrew has been awarded numerous prizes in international competitions including first prize in the Adelaide International Guitar Competition (2019) and the Melbourne International Guitar Competition (2015). His collaborations are extensive and he is commissioning new works for the guitar from celebrated Australian composers Daniel Rojas, Felicity Wilcox, Jessica Wells and Robert Davidson.Andrew, based in Sydney, Australia, is managed by Tier 1 Arts and plays a 2014 Greg Smallman and Sons guitar. Andrew graduated with First Class Honours from the Australian National University in 2013 where he studied with Timothy Kain and Minh Le Hoang.Ariel Nurhadi is a Sydney-based guitarist, active on the performing circuit having toured extensively through Australia and New Zealand. Ariel has performed with some of Australia’s leading musicians and singers and his love of collaborative projects continues with The Jose Carbo Trio, his guitar duo with Andrew Blanch and a forthcoming project called The Great Acceleration with Ensemble Offspring and Topology.Ariel is a graduate of Timothy Kain’s renowned guitar class at the ANU, which he completed with first-class honours. During his studies, he developed a keen interest in historical performance practice, with a focus on the interpretive style of Andrés Segovia.TRACKLISTING Jean-Philippe Rameau: Pièces de Clavecin (1724) (arr. Sergio & Eduardo Abreu)1. Le Rappel des Oiseaux2. Musette en Rondeau3. Rigaudons 1 & 24. Allemande5. Les CyclopesClaude Debussy6. Clair de Lune from Suite Bergamasque (arr. Ariel Nurhadi & Andrew Blanch)7. Cakewalk from Children's Corner (arr. Julian Bream & John Williams)8. Peter Madlem Monte Carlo9. Isaac Albéniz (arr. Miguel Llobet) Evocación from Iberia10. Manuel de Falla (arr. Emilio Pujol) Danza from La Vida Breve11. Enrique Granados (arr. Emilio Pujol) Intermezzo from Goyescas12. Radamés Gnattali: Suite Retratos13. iii. Anacleto de Medeiros (Schottisch)
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Musician Kristy Lee Peters (KLP) and comedian/actor/writer and presenter Matt Okine have joined creative forces as Diver City, a new lively, original children’s music collaboration project. With a fierce passion to promote inclusivity, diversity and multiculturalism amongst growing Australians, Peters and Okine - as two young, creative, Sydney-based parents - have created the fictitious town of Diver City (diversity!). They explore a world for children of all races, upbringings, and backgrounds, incorporating modern musical trends to educate, inform, and entertain kids and parents alike. Welcome To Diver City is an album that will help you and your little one get through the day, exploring routine from waking up, getting dressed, showering, and going to bed; to exploring landscapes and the animals that roam throughout them. They promote inclusivity, the importance of sharing, and understanding emotions. Said Okine: ”Kristy and I have been friends for a while and we've always talked about making children's music. Becoming parents at the same time was the final piece of the puzzle! It's been so awesome to form the concepts and themes for this album as our babies grow and learn together; it's given us the ability to gain real world insight into how children develop, how to make music that captures the highlights of each leap, and - also - the importance of making music that parents will enjoy too!” Kristy and Matt worked on Australia's most popular youth radio network, triple j, and became new parents five days apart. As younger parents, and people whose existence is entwined in the world of pop culture, Peters and Okine wanted to create music and songs that bridge the gap between parent and infant. Having spent years touring the country and performing for adult audiences, DIVER CITY gives them the creative outlet to explore new territories that reflect their own lifestyles. “We're so happy to be teaming up with ABC Music & ABC Kids Listen for our first release,” said Okine. “ABC Music is synonymous with some of Australia's most iconic children's entertainers, and to be included in the same roster as The Wiggles, Justine Clarke, and a couple of pyjama-wearing bananas, is as good a launch for our project as we could possibly hope!”. About Kristy Lee Peters and Matt Okine Kristy Lee Peters aka KLP, is a talented force of the Australian music industry with credentials that cement her reputation as a multi-faceted artistic heavyweight. Between writing and recording her own music, co-writing for other musicians and collaborating with local and international artists, KLP also found time to host the country’s biggest Dance Music radio program, triple j’s House Party every Saturday night for 5 years. She is a regular collaborator with some of the biggest local and international names in the music industry (Skrillex, What So Not, Slumberjack, Snails, Goldfields, Zimmer, The Presets, Set Mo, Thandi Phoenix, Nicole Millar), and in recent years has signed with internationally acclaimed music publishing company, BMG, as a songwriter. The multi-award winning Matt Okine is one of Australia’s favourite comedians, having spent over 15 years appearing on screens and stages both here and overseas. Matt spent 3 years co-hosting Triple J radio’s hugely successful Breakfast Show, is the creator, writer, and star of the AACTA-nominated STAN series, The Other Guy, and was most recently a guest on ABC's Play School Story Time. Before becoming a household name, Matt spent years conducting 'deadly funny' comedy workshops for indigenous school kids around Sydney and NSW, and was the host of the Melbourne International Comedy Festival’s 2013 National 'Class Clowns' competition broadcast on ABC. He has also hosted the MICF’s annual televised Oxfam Gala for ABC TV. 
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A disc of debuts for Melbourne’s new kids on the Baroque.“Sumptuous and refined…Genesis Baroque is a unique and polished — and importantly, welcome — voice in the vibrant Melbourne Baroque music scene.” CutCommonArcangelo Corelliis one of the great composers of the Baroque era, a trailblazer who forever changed the relationship between soloist and orchestra, and did much to establish the violin as the star of the orchestra. He is considered the ‘father’ of the concerto grosso – apiece for several soloists accompanied by an orchestra – and his seminal Opus 6 volume became the benchmark for his contemporaries, including Handel, Vivaldi and Geminiani.Here, one of Melbourne’s premier early music ensembles, Genesis Baroque,brings these extraordinary works to life with great energy and enthusiasm. Adding to the uniqueness of the occasion, not only is this the ensemble’s first studio recording, but it is also the first complete recording of these works by an Australian orchestra.In this recording, the ensemble is led by consummate expatriate violinist Sophie Gent, who returned to Australia for the first time in many years to perform with Lucinda Moonas co-directors and soloists. Both musicians are notable for their nuanced, elegant approach and creative flair, and will enchant listeners through the sublime colours and conversations of Corelli’s masterworks.Genesis Baroque was founded in 2017 by Baroque violinist and artistic director, Jennifer Kirsner, and are led by renowned Baroque violinist, Lucinda Moon. Based in Melbourne, the ensemble is comprised of some of Australia’s finest historically informed musicians and presents an exploration of the spontaneity, excitement and contemporary richness of music from the 17th and 18th centuries. The ensemble is fast developing a reputation as one of the country’s finest, with a particular capacity for emotive, vibrant performances that connect closely with their audiences.Sophie Gentwas born in Perth, Western Australia. After completing a Bachelor’s degree she pursued further studies at the Royal Conservatorium in The Hague with Ryo Terakado, completing her Master’s degree with distinction in 2005. In 2002 she was awarded first prize in two chamber music competitions: the International Van Wassenaer Competition (The Netherlands) and the International Premio Bonporti Concours (Italy), with the ensemble Opera Quarta. Their first recording, of trio sonatas by Jean-Marie Leclair, was awarded a Diapason d’Or in July 2007. Sophie is active as a soloist and chamber musician, performing and recording frequently as concertmaster with the Ricercar Consort, Il Gardellino, Capriccio Stravagante, Les Muffatti, Ensemble Masques and also as a member of the period instrument string quartet Mito dell’Arco, based in Japan. She was appointed Professor of Baroque violin at the Amsterdam Conservatorium in 2011 and regularly coaches chamber music at the Early Music Department Conservatorium in Antwerp.With over 25 years performance and recording experience, Lucinda Moonis a highly respected and sought-after Baroque violinist. After graduating from the Victorian College of the Arts, Lucinda travelled to The Netherlands to study Baroque violin with Sigiswald Kuijken at the Royal Conservatorium in The Hague. On her return to Australia she was appointed as concertmaster of the Australian Brandenburg Orchestra; a position she held from 1995 until 2008, and with whom she recorded extensively as concertmaster and soloist. Lucinda now performs and records in Australia with the Elysium Ensemble, Accademia Arcadia, Latitude 37 and Van Diemen’s Band. Lucinda joined Genesis Baroque as Musical Director and concertmaster at the group’s inception in 2017.TRACKLISTING ARCANGELO CORELLI 1653–1713Concerti Grossi Opus 6CD1     Tks 1–5         Concerto grosso No. 1 in D major            Tks 6–9         Concerto grosso No. 2 in F major            Tks 10–14      Concerto grosso No. 3 in C minor            Tks 15–18      Concerto grosso No. 4 in D major            Tks 19–23      Concerto grosso No. 5 in B-flat major            Tks 24–28      Concerto grosso No. 6 in F majorCD2     Tks 1–5         Concerto grosso No. 7 in D major            Tks 6–10       Concerto grosso No. 8 in G minor ‘Christmas Concerto’            Tks 11–16      Concerto grosso No. 9 in F major            Tks 17–22      Concerto grosso No. 10 in C major            Tks 23–28      Concerto grosso No. 11 B-flat major            Tks 29–33      Concerto grosso No. 12 in F majorSophie Gent & Lucinda Moon violinsGenesis Baroque
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Teeny Tiny Stevies, the kids band with the cool factor, have unveiled their new single and animated video ‘Had You To Teach Me’, and also announced their eagerly-anticipated album Thoughtful Songs for Little People, which will be released August 7th. The third album from sisters Byll and Beth Stephen is the follow up to their 2018 ARIA-nominated set, Helpful Songs for Little People.WATCH VIDEO HEREBeth explains the initial story behind ‘Had You To Teach Me’:“The song began in response to watching my son learn to walk. Like so many of our songs it begins from the perspective of the child, but this time ends from the perspective of a parent or care giver. It’s one of my life’s great pleasures watching my son learn everything from scratch. But there’s also this constant pull and push trying to work out when to step into help and when to back off. Already so early in his life I’m feeling that constant contradiction between overwhelming pride for his achievements and then sudden grief knowing he no longer needs me in the same way that he did before. I know one day he’ll think I’m terribly uncool, so I’m savouring the moments he thinks I’m the be-all and end-all“.Byll explains how the song developed further: “When Beth sent over the first version of this song I knew it was going to be special. Melodically it already had the simple magical elements you strive for when writing music, which meant the challenge was making sure we didn’t overcomplicate it. The song gave me a nostalgic feeling, so we lent right into that and wrote lyrics in a linear storyline about growing older and looking up to your parents as your most important teachers. Then we swung the perspective around in the last verse by writing it from the parents point of view about their children. And that’s why you’re crying..”The heart-warming animated video was created by the band’s long-time collaborator Simon Howe, with a sweet storyline between the Sugar Glider and her brother as he teaches her how to fly. ABOUT TEENY TINY STEVIESTeeny Tiny Stevies create inspired and educational music which encourages conversation between adults and children. What began as a side-hobby for sisters Byll and Beth (who also play, record and tour in folk/pop band The Little Stevies), became so fun and effective that before they knew it, their debut album had become a word-of-mouth sensation with parents around the country.The band’s beautifully-animated music videos, including ‘Boss of My Own Body’, ‘I Ate a Rainbow’, ‘Sleep Through the Night’ and ‘Boy or Girl Colour’ continue to be hugely popular on ABC Kids TV, and to date have received over 8 million views on iView.Teeny Tiny Stevies’ first ever national tour sold out in a matter of days, and their second - which was set to be their biggest, culminating in a performance at Sydney Opera House - was cancelled due to coronavirus. They are looking forward to rescheduling the tour and performing to families around Australia as soon as they can. 
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‘The Sounds of Silence’, ‘Graceland’, ‘Mrs Robinson’, ‘50 Ways To Leave Your Lover’ – Paul Simon has one of the richest and most-loved catalogue of songs of any songwriter who ever lived.On I Am Like the Rain, a quartet of Australia’s most exciting jazz performers have reimagined these iconic works, with gorgeous late-night arrangements that celebrate Simon’s artistry while revealing new aspects to these songs you’ve heard a hundred times before.Vocalist Allira Wilson is one of Australia’s most exciting talents, skilfully combining jazz harmony with a contemporary edge and soulful dynamic. Her exquisite voice and sensitive, nuanced phrasing draw out all the beauty, melancholy and humour in these songs, combining effortlessly with Harry Mitchell’spiano playing and arrangements.These songs are effortlessly brought into the jazz sound world thanks to Mitchell’s arrangements, and some superb playing by Ben Vanderwal (drums and percussion) and Karl Florisson (double bass). The album also features beautiful guitar playing by guests Carl Morgan and Harry Winton, all warmly enveloped in Vanderwal’s lush, sensitive production.At times upbeat and fun, at times dripping with wistfulness and regret, this is a gorgeous album that pays homage to one of the great songwriters.Allira Wilson is one of Australia’s most exciting young talents, whose musical approach has been described as ‘brave and raw as it is supple and intricate’. Endowed with a powerful voice, her innovative twists and youthful approach not only revitalize the music, but create a distinctive and fresh sound. She has performed regularly with her own projects as well as Jamie Oehlers’ Blowfish, Mace Francis Orchestra, Alice Humphries’ Ecila ensemble and the WA Youth Jazz Orchestra (WAYJO). Allira also is a member of Gian Slater’s vocal ensemble Invenio. Allira received an Australian Jazz Bell Award for Best Australian Jazz Vocal Album for her debut record Rise and Fall.Harry Mitchell has been playing piano since the age of eight, and playing jazz since the age of 13. Since then, he has performed with many artists across Australia and overseas, including Vincent Gardner, Kate Ceberano, George Garzone, Vince Jones, Troy Roberts, Jerome Jennings, Veronica Swift, Charlie Watts, Katy Steele and many more. He has played on numerous recordings including the Hank Marvin record Without A Word, the recent Jamie Oehlers album Night Music, and the Daniel Susnjar Afro-Peruvian band CD Spark.  In 2017 he was awarded Young Australian Jazz Artist of the Year at the Australian Jazz Bell Awards, as well as being awarded Jazz Song of the Year at the2016-17 and 2017-18 West Australian Music (WAM) Awards, and Best Pianist at the 2017-18 and 2018-19 WAMs. Harry has released three albums with his standards band TrioTrio and four albums of his original quartet/quintet music.Ben Vanderwal is one of the most in-demand jazz drummers in Australia. From an early age he encountered the legendary drummer/teacher Frank Gibson Jr, who helped unravelled the mysteries of that strange, fascinating music – in Perth, of all places. Originally from there, Ben has also spent time in New York and Melbourne and performed around the world including tours of the UK, France, Ireland, India, USA, China, Korea, Taiwan, Philippines, Japan, New Zealand, New Caledonia, Indonesia, Hong Kong and Thailand. He has played with John Scofield, Charlie Haden, Howard Levy, Madeleine Peyroux, James Morrison, Chris Potter, George Garzone, Kate Ceberano, Mark Murphy, Ernie Watts, Lionel Rose, David Campbell, Rhonda Burchmore, Nigel Kennedy, Don Burrows, Deborah Byrne and Normie Rowe. Ben has performed on over thirty recordings with a wide variety of artists.Karl Florisson is one of Perth’s most in-demand bassists. He has appeared on countless recordings, and been nominated for multiple West Australian Music (WAM) Awards for best bassist. He has performed with the likes of George Garzone, John Scofield and Vince Jones, and regularly plays around Perth with artists including the Russell Holmes Trio, Libby Hammer, Harry Mitchell Trio and Jamie Oehlers’ Blowfish.TRACKLISTING1.  Kathy’s Song             3’362.  Mrs Robinson           3’493.  Baby Driver              2’554.  Bleecker Street         3’525.  Graceland                4’246.   Still Crazy After All These Years              4’117.   Me And Julio Down By The Schoolyard   4’338.   The Sounds of Silence                           4’589.   Fifty Ways To Leave Your Lover             5’1210. Scarborough Fair / Canticle                   5’11 Allira Wilson vocals• Harry Mitchell pianoBen Vanderwal drums and percussionKarl Florisson double bass
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David Greco and Erin Helyard continue their acclaimed explorationof Schubert’s great song cycles.Following their 2018 recording of the great song cycle Winterreise, David Greco and Erin Helyard continue their exploration of Schubert’s songs with their new recording of Die schöne Müllerin. Composed in 1823, it is one of the earliest extended song cycles, and one of Schubert's most important works.This iconic work follows a young miller, his unrequited love for the miller’s beautiful daughter, and the brook that seems to speak to him and reflect his growing sadness back at him. At turns joyful and spring-like, at others somber and morose, it is a complex and beautiful set of songs that has been recorded countless times by many of the greatest performers of the twentieth century.But by using a piano from Schubert’s era, and studying singers and pianists of the past, Greco and Helyard present a very different Müllerin; an interpretation that retains all the beauty of the work we know and love, but also reveals new colour, expression and personality as Schubert might have intended it.This is a superb recording by two of Australia’s finest artists, a thrilling and captivating rendition of a great work that reveals new beauty around each bend of the river…TRACKLISTINGFRANZ SCHUBERT 1797–1828Die schöne Müllerin, D795 1. I. Das Wandern (Rambling)2. II.Wohin? (Where To?)3. III. Halt! (Stop!)4. IV. Danksagung an den Bach (Thanksgiving to the Brook)5. V.Am Feierabend (After Work)6. VI. Der Neugierige (The Inquisitive One)7. VII. Ungeduld (Impatience)8. VIII. Morgengruss (Morning Greeting)9. IX. Des Müllers Blumen (The Miller’s Flowers)10. X.Tränenregen (Shower of Tears)11. XI.Mein! (Mine!)12. XII.Pause (Pause) 13.Impromptu in G-flat major, D899 No. 3 14.XIII.Mit dem grünen Lautenbande (With the Lute’s Green Ribbon)15.XIV.Der Jäger (The Hunter)16.XV. Eifersucht und Stolz (Jealousy and Pride)17.XVI.Die liebe Farbe (The Beloved Colour)18.XVII. Die böse Farbe (The Hateful Colour)19.XVIII.Trockne Blumen (Withered Flowers)20.XIX.Der Müller und der Bach (The Miller and the Brook)21.XX. Des Baches Wiegenlied (The Brook’s Lullaby) David Greco baritoneErin Helyard piano
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Listen to the first single from the album here.Be transported back in time to the salons of 19th-century Paris by one of Australia’s finest historically inspired ensembles.Acclaimed period-instrument ensemble Ironwood revive the sounds of the French Romantic through works by Louise Farrenc and Camille Saint-Saëns. These wonderful piano quintets provide contrasting glimpses of the rapidly changing tastes of mid-19th-century Paris, from the Schubertian Classicism in Farrenc’s piece to Saint-Saëns’ incredible work that seems to move from the Baroque to Blondie (yes, really!) via cabaret and the shimmering sounds of early Hollywood.Ironwood’s novel interpretation of these works reflects the ensemble’s research into historical performance practices, informed by very early acoustic, electrical and piano roll recordings – including some by Saint-Saëns himself – and by contemporaneous written texts by French and Belgian musicians. Through this research, coupled with the sounds of gut-strung stringed instruments and an original Érard concert grand piano from 1869, this recording re-imagines the expressive sound world that these composers envisaged for their sumptuous music.Louise Farrenc is a remarkable figure, a composer, pianist and teacher who was incredibly influential in her own lifetime – especially unusual for a woman in the early 1800s. In 1842 she became the first female professor to be appointed at the Paris Conservatoire, where she taught piano for thirty years and was successful in fighting for pay equal to her male colleagues. A star during her lifetime, her music was largely forgotten during the 20th century, but the resurgence in interest in female composers in recent years has seen herworks restored to prominence. This is the first recording of her work released on ABC Classic, and possibly the first-ever Australian recording.Camille Saint-Saëns is far better-known today, with works such as Carnival of the Animals and his Third (‘Organ’) Symphony frequently recorded and performed. Though these works have assured his place in the mainstream of classical music, during his lifetime he was a progressive and ground-breaking composer, foreshadowing elements of composers in the French group known as Les Six and even Stravinsky.Ironwood is a renowned Australian period-instrument ensemble admired for its historically informed exploration of repertoire from the late Renaissance to the late Romantic eras, as well as its support of newly commissioned works. Established in 2006, the ensemble draws on a wealth of experience and expertise, bringing together specialist leaders in the field. Ironwood has presented at the major festivals and concert series around Australia and has toured Europe and America. With several innovative recordings on the ABC Classic and Vexations840 labels, Ironwood is regularly broadcast nationally on ABC Classic and around the world. Ironwood has partnered with Musica Viva and has collaborated with The Song Company, Ensemble Offspring and a broad spectrum of Australian composers, exploring both old and new music in wide-ranging contexts.  TRACKLISTING LOUISE FARRENC 1804–1875Quintet for piano and strings No. 1 in A minor, Op. 30[31’10]1 I. Allegro 12’502 II. Adagio non troppo 6’173 III. Scherzo (Presto) 3’544 IV. Finale (Allegro) 8’17 CAMILLE SAINT-SAËNS 1835–1921Quintet for piano and strings in A minor, Op. 14 [32’25]5 I. Allegro moderato e maestoso 11’216 II. Andante sostenuto 6’247 III. Presto 5’398 IV. Allegro assai, ma tranquillo 8’58