A Well Deserved Standing Ovation

Sydney Harbour Ensemble presents: Beethoven's Emperor

Sydney Harbour Ensemble presents: Beethoven’s Emperor Rating

★★★★★

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It was an utter joy to experience Sydney Harbour Ensemble perform Beethoven’s Symphony No. 4 and the monumental Emperor Piano Concerto, featuring pianist Joshua Han on Saturday night at the ACO on the Pier.

This is Sydney Harbour Ensemble’s third concert in their inaugural year. Their mission is to pair live orchestral music with landmark harbour settings and local history. While focusing on celebrating emerging Sydney talent. This orchestra is certainly packed with talent.

Hearing Beethoven’s Symphony no. 4 in B flat major Opus 60 makes you understand why we still want to hear and play his music today, even though it was composed over 400 years ago. Especially when it is played as superbly as it was on Saturday night.

All 36 instrumentalists in the orchestra played with great passion and were strongly connected with each other the entire time. They dazzled with expression, large ranges of dynamics and soared through the very fast passages in the symphony. Their Timpanist, Bryn Wood, has an amazingly expressive face and you could tell he was in his element of utter joy the entire time.

 

Benjamin Crowe, their artistic director and conductor, held great poise and determination throughout the night. His conducting was very graceful and clear. We felt very safe in his hands… pun intended. I believe he has a big future ahead of him.

For the second half of the concert, Beethoven’s Emperor Piano Concerto, featuring pianist Joshua Han, was absolutely magical. I could not keep my eyes off Joshua Han the entire time. His fingers gracefully dancing up and down the keys with immense passion. His perfectly quaffed hair moved effortlessly with the music and his face embodied intense emotion that then instantly transferred to fingertips. I am not surprised he has won so many piano competitions locally and internationally. I’m sure there will be many more to come.

The night ended with a well deserved standing ovation by all and we were treated to a beautiful encore by Joshua Han. You could tell all of the orchestral players were just as enamoured by Joshua Han as the audience were. They all looked mesmerised by his playing, now that they were able to watch him for the encore.

I can see many more exciting concerts in this orchestra’s future. I hope they continue to do more of Beethoven’s work as they play them so exquisitely and they have more collaborations with pianist Joshua Han.

Please keep an eye out for more concerts by Sydney Harbour Ensemble, they are not to be missed.

To book tickets to Sydney Harbour Ensemble presents: Beethoven’s Emperor, please visit https://sydneyharbourensemble.com.au/.

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Reich: Rejoice: Repeat

Reich: Rejoice: Repeat

Reich: Rejoice: Repeat Rating

★★★★★

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Following this concert I think the Vibraphone is my new favourite instrument. Think tubular bells mixed with a glass harp for the purest sound in an orchestra. As a tribute to Steve Reich who was influenced by Back to Coltrane and master of this instrument, the Ensemble Offspring offered a technically brilliant afternoon of sound. The self-effacing key speaker Claire Edwardes outlined the program and the ensemble’s history and love of Reich’s compositions and technical difficulty. She even wondered out loud why they had chosen some difficult pieces!

First up, Richard Cilli and Claire Edwardes strode on with metronomes and, accompanied by the amazing pianist Gabi Sultana, their body percussion and ballet melded sound, rhythm and the piano providing a surprising pulse. ‘Metronomes’, offered Reich’s classic phrasing of repeat, review and revise. The bodies moved in time matching the metronomes as they were out of sync and then in-sync as if they were a piece of separate music. It was compelling in its fluidity.

Richard then stepped forward and with fluid balletic dexterity presented a conversation with a silent partner as if the beat, piano and his movements were debating with another to get some response regardless. Gabi pushed the piano as if it were vibrating to the music whilst her fingers ran across the notes mastering the difficult phrasing.

 

Next we had the famous piece, Quartet from 2013, which featured two vibraphones and two pianos – just in case! The nimble dexterity and clarity of sound was beautiful and the pace was fast and furious. Lots of counter questions and answers between all four performers as they delved into the complex harmonies and difficult twists of hands and instruments to match the rhythm, fast, slow, fast and then faster. It was amazing to watch the ballet of fingers using the mallets as if playing four keyboards on one instrument and the precision of the timing was everything.

The finale of the whole ensemble added a bass guitar, flute, clarinet, violins, viola and cello which circled the pianos and vibraphones. Radio Rewire from 2012, is a piece not for the fainthearted. With shards of Radioheads’ Everything in Its Right Place and Jigsaw Falling Into Place, Reich offers a throwback to older composers using pre-existing music to weave in to their own variations on a theme. The piece moved back and forward in speed and finalised in a massive pure sound leaving the audience stunned by the sheer technical brilliance and the complex phrasing as variations were weaving around from each performer. The performance culminated in a cacophony of dynamic sound.

To book tickets to Reich: Rejoice: Repeat, please visit https://www.aco.com.au/whats-on/2026/ensemble-offspring-reich-rejoice-repeat.

Photography: Oliver Miller

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