Australian Chamber Orchestra

I've been chasing that Take Five for a few years, and I'm so stoked we could finally bring Jacinda Ardern to you.

It's a beautiful-looking episode, too, captured at the Australian Chamber Orchestra's studios on Sydney Harbour.

So if you haven't already, take a look on ABC iview.

The whole season is up for you to binge right now.

Then I'm home for a bit, but I'm on tour with Van Diemen's band and we're touring this new album, which has just been released into the world, which is very exciting.

Then there's Pinchcut Opera, there's the Australian Chamber Orchestra.

I'm ending my year with the New Zealand Symphony Orchestra singing Messiah, which is going to be very cool, very amazing.

Is that your

I really enjoyed doing that in the radio.

One period I had a contract to produce a monthly radio program of the music of the Adelaide Chamber Orchestra, which is second only to the Australian Chamber Orchestra in prestige of chamber orchestras in Australia.

Good

for you,

Remember vinyl? We'll put a link in the show notes.

His current project is working on a concert with some of his songs being performed by the Australian Chamber Orchestra.

True story.

It's gonna be amazing.

And, uh, in God's kindness I would say that's, He's offered to, that to Jere through music.

So, and I mean, honestly, like he got...

So he got to s- come and sing on a podcast, and, uh, he's doing work now with the Australian Chamber Orchestra.

Mm-hmm.

But yeah, I do love the weird ones, so to speak.

I, I mean, last year I wrote a piece for theremin and ACO for Carolina Eyck, and I loved that, that process of just diving in and learning all about theremin.

I knew nothing about theremin other than the noise that it made or the sound that it made when I first sort of started studying and researching.

And the accordion, I knew more about the accordion than theremin, and I must confess that I had written an earlier piece for James Crabb and the Golden Quartet, but that was very short.

It certainly does, and I think it's a particularly interesting observation because there is always that, perhaps tension is the wrong word, but the notion that brilliance will always out.

I mean, there's that argument, I sort of think of the Australian Chamber Orchestra and Richard Tognetti, I mean, arguably a talent of that calibre, irrespective of what's happening at a local level, irrespective of what the local high school does, it will just find a way to bubble to the surface because there's that inner need to create that will just constantly find that outlet.

And perhaps that does make, because we, again, coming back to brand and recognition, because we think of the individual brilliant performers or the institutions that can name-check a lot of individual brilliant performers, we become very focused on that element of it and sometimes forget that they would emerge either way However, we could still look at the local institutions and ask what do they do perhaps more for that middle rank.

It's true.