Now here’s a CD you can treasure forever
and play over and over again. And you don’t have to be a romantic
or even a lover of the cello and guitar. Separately they are instruments
of great individuality; together they spin a web of intrigue,
rhythm, languor, mystique and, as the title of this CD pre-supposes,
seduction. Trish O’Brien and Gareth Koch are both superb Australian
musicians who enjoy making music together.
O’Brien was born in Tasmania and with grit
and determination became principal cello at the Sydney Symphony
Orchestra. Complications arising from the neglect of an injury
to her wrist left her, according to experts, with no hope of ever
playing the cello again until years, and two children, later when
she fell and fractured the same wrist. Since then she has gone
through rehabilitation, anxiety and constant reminders of the
injury to forge a living as a solo artist and as a member of various
ensembles.
Koch was born in Milan the son of Christopher
Koch (author of The Year of Living Dangerously) and Irena
Vilnonis, an accomplished pianist and colleague of Roger Woodward
at the Sydney Conservatorium. The Koch family travelled extensively
and at the age of 12 Gareth found himself in a Spanish taverna
in Andalusia where itinerant gypsy musicians were playing. “These
flamenco guitar gods were playing from the heart and making me
feel something I hadn’t experienced before,” Koch recalls. “I
needed to be part of it.”
Following years of intense study, including
a stint in Vienna, he has developed into a remarkable guitar virtuoso.
He also plays with various groups. The latest, called ‘Saffire’
consists of Antony Field, Slava Grigoryan and Karin Schaupp. Their
debut album for ABC Classics soared to number one on the Australian
Classical Music Charts and in November 2003 won the ARIA Award
for best classical album. Gareth is also famous for his solo albums
especially his guitar arrangements of Carl Orff’s Carmina Burana
and Stravinsky’s Rite of Spring.
This current collaboration with Trish O’Brien
is a triumph of creativity and talent. The CD has music from the
Renaissance and Baroque periods (Kapsberger, Mudarra, Caccini),
from the French impressionists (Satie, Debussy, Ravel) and from
contemporary composers (Houghton, di Marino, Pärt, Kitson, Lennon,
McCartney). Tchaikovsky, de Falla and Piazzolla are also represented.
The guitar is used mostly as a rhythm section
playing arpeggios and chord progressions while the cello plays
the melody line and, in some instances, just adds to the mood
of the piece.
There are some choices that don’t quite
work, however. For example Debussy’s Beau Soir would have
been more effective if played on the violin – the cello’s deeper
resonance spoils the lyricism of the piece, while the guitar is
far too dominant in Kapsberger’s - part of the composition is
attributed to O’Brien herself - Toccata Arpegiatta. Kitson’s
Amen - sorry I couldn’t find her birth particulars although
I know she’s a current pop singer/composer - is a weird combination
of placidity and sudden inexplicable bursts of prestissimo. Too
distracting.
But the rest comes up trumps. Arvo Pärt’s
minimalism with its ebbs and flows is just the thing for setting
the right mood and all eight minutes of it is conducive to relaxation
amid the magic of the guitar almost playing solo but with the
slightest hint of the cello in the background. Di Marino’s Milonga
and Houghton’s Adoration has the cello at its emotive and
soulful best.
Truly enjoyable and recommended to all and
sundry. Light a few candles, turn off the TV, dim the lights,
send the kids to bed and enjoy it with a glass of wine, single
malt and/or someone you love.
Randolph Magri-Overend
