Dene Olding & AYO premiere Carl Vine’s Violin Concerto

Carl Vine

It’s been a big week for Carl Vine. Hardly back from the Melbourne International Chamber Music Competition, Carl headed straight to the Sydney Opera House for rehearsals with the Australian Youth Orchestra, conductor Thomas Dausgaard and violinist Dene Olding for the premiere of Carl’s Violin Concerto. With performances on Wednesday and Thursday nights, the response so far has been positive.

Murray Black, The Australian, July 22, 2011

“…Carl Vine describes his new violin concerto as a work of abstract music with no extra-musical explanation.

“The concerto form often lends itself to heroic, extroverted music, showing off a soloist’s virtuosity against a powerful orchestral background.

“Vine’s two-movement concerto, however, is a restrained, introspective piece. For the most part, the rhapsodic solo violin floats above a gentle orchestral accompaniment.

“Vine’s compositional springboard, he says, was ‘the curious quality often achieved by solo violin accompanied by an orchestra playing softly’.

“Hence, full orchestral tuttis are used sparingly and Vine largely treats the orchestra as an ever-changing series of chamber ensembles.

“Gently throbbing strings and fluttering woodwind figures dominate, periodically coloured by muted brass chords and tinkling washes of harp and tuned percussion.

Dene Olding

“Violinist Dene Olding gave a commanding performance. His strong sense of line and full-bodied tone allowed Vine’s expansive solo themes to take flight. The faster sections were impressively clear and sinuously phrased.

“Conductor Thomas Dausgaard and the Australian Youth Orchestra realised Vine’s inventive accompaniment with nuance and sensitivity.”

Read the full review here.

Peter McCallum, The Sydney Morning Herald, July 22, 2011

“Carl Vine’s Violin Concerto, receiving its first performance under Dene Olding, is in two movements, each of which splits into three parts.

“The first movement showed Vine’s maturity as an orchestrator. Its structure had a classical balance. With a prominent ruminating theme from the violin at the start and end ( reminiscent, in its tentative phrase structure, of Elgar’s “Enigma” theme), the movement had the periodic shape of a set of variations and was among the best of Vine’s recent music.

“Olding played with a gloriously golden sound, deft accuracy and attention to expressive detail.”

Read the full review here.

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