Wednesday 18 February 2026
Australian Brandenburg Orchestra
Review by Paul Neeson (Arts Wednesday)
The Australian Brandenburg Orchestra were on fire for their season opener, Baroque Masters, a program full of delectable well-loved Baroque masterpieces. And Artistic Director, Paul Dyer was proud to show off his newly refurbished harpsichord with its brand new coat or ‘teal’ paint. Was that a nod to our local member? The devoted ABO audience seemed to think so.
The evening began with Handel’s Concerto Grosso Op.6 No.1, a gem from the German composer at the time residing in London. From the beginning it was apparent that 2026 was set to be a great year for the ABO who were playing perfectly in tune and in time from the opening bar. There was a new level of musicality in their performance that immediately excited the audience. But this was just the beginning.
Next, Adam Masters took to the stage as soloist in Marcello’s Oboe Concerto in D minor. I always think the oboe is more suited to a minor key, and this was particularly apt in Masters’ poignant interpretation of the Adagio second movement.
Two of Bach’s Brandenburg Concertos straddled the interval break. The 4th before interval is the one with two flutes and violins as soloists. Full of joyful melodies and technical challenges for the soloists, it is one of Bach’s most uplifting compositions. Flautists Melissa Farrow and Mikaela Oberg shone as they played as if they were one instrument, dancing melodies around each other and the solo violin. Concertmaster Shaun Lee-Chen breezed through the fiendishly difficult demi-semi-quavers passage in the first movement. Interestingly, Dyer had the harpsichord positioned at the rear of the stage for both Bach pieces, requiring Lee-Chen to direct the orchestra from the violin, something he seemed very much at ease doing. Are we getting a glimpse of the next ABO Artistic Director here when Dyer one day hands over the reigns? Heaven forbid, let’s hope that is not any time soon.
The 3rd Brandenburg Concerto came after the break, again with Chen directing. My colleague was only saying during interval that we never get to hear Dyer’s harpsichord on its own as it is usually buried in the texture of the basso continuo section. Well what a delight. For the 2nd movement of this concerto, Bach only wrote twochords – we assume – with an expectation that there would be improvisation over them. What we got was an extended harpsichord solo from Dyer that showcased his enormous talent and musicality, as well as the bright sound of his newly refurbished keyboard. As we launched into the final Allegro movement, the audience (and I suspect a large chunk of the orchestra) gasped at the breakneck tempo set by Chen. While some of the clarity and precision was lost in the rush, the level of excitement in the audience went into overload.
After that, the relief of Pachelbel’s Canon in D was only short-lived, as the variations on the ground bass went from a solemn tempo (as we are used to hearing at weddings) to supercharged vivacissimo and back again. What a ride!
Now I’m sure I didn’t doze off in all the excitement, but I swear I only heard one movement of the Quantz Flute Concerto with Melissa Farrow as soloist. She is such a talent and a joy to listen to and watch. As a flautist, I was very disappointed to not get the entire concerto as advertised in the program.
We got another set of variations to conclude with Vivaldi’s La Folia. We all know the chord progression as it has been used in countless Baroque pieces (Scarlatti, Corelli and Geminiani to name a few) and has persisted into contemporary popular culture via Vangelis (Conquest of Paradise theme) and even Britney Spears (Oops…I Did it Again). As a chord progression it is probably as recognisable (and as much fun to jam on) as 12 bar blues. Again the terrifying tempo of the last variation set the crowd alight.
The ABO has definitely risen to a new level, and 2026 is looking like one of their best seasons. I can’t wait to hear what is coming next.
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