The Australian Chamber Orchestra (ACO) celebrates its 50th birthday with a beautifully recorded album featuring two of the greatest violin concertos: Beethoven's and Brahms'. The soloist and conductor, Richard Tognetti, has been leading the orchestra for 35 years and his approach to these works is both modern and traditional.
The recordings were made in Sydney's City Recital Hall, where the ACO's regular sound of combining modern playing techniques with historical instruments shines through. With a core group of 20 players augmented by guest instrumentalists from other Australian orchestras, the orchestra's textures are remarkably supple and coherent.
While some may find Tognetti's approach to Beethoven's concerto too urgent, his account of the first movement is expansive and engaging. The choice of cadenzas adds a sense of excitement and energy, making this one of the longest recordings of the work on record. In contrast, Tognetti's Brahms concerto is more mainstream, but no less effective. Outstanding woodwind solos weave around the solo line, with textures remaining light and transparent.
The performances are thoroughly convincing and make for a wonderful souvenir of a remarkable partnership between Tognetti and the ACO. The recordings showcase the orchestra's ability to balance tradition and modernity, resulting in an album that is both a celebration of its 50th birthday and a testament to its enduring excellence.
As with any recording, it may not set a new standard for these works, but as a companion piece, this album is hard to resist. The ACO's commitment to excellence and its long-standing partnership with Tognetti make for an unforgettable listening experience.
The recordings were made in Sydney's City Recital Hall, where the ACO's regular sound of combining modern playing techniques with historical instruments shines through. With a core group of 20 players augmented by guest instrumentalists from other Australian orchestras, the orchestra's textures are remarkably supple and coherent.
While some may find Tognetti's approach to Beethoven's concerto too urgent, his account of the first movement is expansive and engaging. The choice of cadenzas adds a sense of excitement and energy, making this one of the longest recordings of the work on record. In contrast, Tognetti's Brahms concerto is more mainstream, but no less effective. Outstanding woodwind solos weave around the solo line, with textures remaining light and transparent.
The performances are thoroughly convincing and make for a wonderful souvenir of a remarkable partnership between Tognetti and the ACO. The recordings showcase the orchestra's ability to balance tradition and modernity, resulting in an album that is both a celebration of its 50th birthday and a testament to its enduring excellence.
As with any recording, it may not set a new standard for these works, but as a companion piece, this album is hard to resist. The ACO's commitment to excellence and its long-standing partnership with Tognetti make for an unforgettable listening experience.
Richard Tognetti is literally a genius on violin I love how he brought out the modern vibes in Beethoven's concerto without losing that classic feel 
and the way they recorded it in City Recital Hall sounds insane 
20 players plus some extra guests making the whole sound so rich and layered 
totally agree with the reviewer, this album is perfect for anyone who loves classical music or just wants to experience something new 
. I mean, who wouldn't want to listen to a recording of the Beethoven concerto that's actually energetic and engaging? 
The woodwind solos on the Brahms are pure gold too... overall, this album feels like a love letter to music itself 
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i mean dont get me wrong, the way hes playin is classic but at the same time its like he's bringin somethin new to the table? and that cadenza in the first movement tho?? 
They're really showing off their versatility by tackling two of the greatest violin concertos, and Richard Tognetti's direction is pure gold 
. I mean, who wouldn't want to hear Beethoven's and Brahms' masterpieces played with modern flair but still staying true to tradition? The fact that they got some amazing woodwind solos in there too just takes it to the next level 
I'm definitely gonna give this album a listen and get my daily dose of classical goodness 
. I mean, who doesn't love a good violin concerto? The woodwind solos are just sublime 
. It may not break new ground, but this album is definitely a testament to the orchestra's excellence and Tognetti's partnership with them 
, and it's awesome that they're celebrating with such incredible recordings. I love how Richard Tognetti has balanced tradition and modernity in his approach to these two iconic violin concertos 
. And can we talk about the woodwind solos? 
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They add such a nice layer of depth to the performance. I love how the ACO showcases its unique sound - it's not too loud or overpowering, just perfectly balanced 
I'm telling you, something fishy went down during those 35 years of Richard Tognetti leading the ACO... He must've got some kind of special deal with City Recital Hall to get such top-notch acoustics on record 
. I mean, you'd think someone who's been leading an orchestra for that long would know the classics inside out... but nope, he's gotta put his own spin on things 
. Still, the album does sound pretty good 
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Richard Tognetti is a legend conductor! 
I've listened to it like 3 times already and I'm not tired of it... yet 
What I love about this recording is how the woodwind solos bring out that extra sparkle in Brahms' concerto. The way they weave around the solo line is pure magic 
! But seriously, Richard Tognetti must be like the ultimate conductor-dad, having worked with ACO for 35 years! I'm not saying he's old, but he's old enough to know better and still does things his way 
. Anyway, this album sounds amazing – I'd totally buy it just because it features violin concertos 
I've been listening to it nonstop since it came out, but I was wondering how they managed to record two of the greatest violin concertos with such a great balance between modern and traditional techniques. Did Richard Tognetti have any special tips or tricks for getting the best sound from the instruments? 
And did they use any new technology or equipment that helped bring out the textures and coherence of the orchestra's playing? 
And those woodwind solos? 
