Almanac Music: Barton & Brodsky – Melbourne Recital Centre
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William Barton and the Brodsky Quartet
On Wednesday night at the Melbourne Recital Centre I was fortunate to be amongst an appreciative audience to experience one of the most amazing musical performances I’ve ever encountered in all my concert going life.
Barton and Brodsky featuring First Nations didgeridoo player William Barton joining forces with legendary chamber music masters the Brodsky Quartet in concert to produce an unbelievable and incredible magical night of :
‘profound musical dialogue between traditions, baroque precision meets ancient breath; and European chamber music encounters First Nations wisdom’. (MRC)
It was a memorable night indeed; not only for the audio quality of the pristine sounds produced by the musicians, but it also emphasised further the superb acoustics this amazing venue is renowned for ensured the listening experience for audience members was at the highest possible level. The precision playing of these wonderful musicians, all at the top of their game, guaranteed a performance that one was not going to forget in any hurry. And, as expected, they did not disappoint. I was mesmerised.
The musical interactions between the players, the interweaving of traditional First Nation sounds via the didgeridoo with the classic sounds of the string instruments from the classic genre of chamber music acknowledged the respect and appreciation each had for the other of their respective musical origins and backgrounds.
There was much love in the air. All played with love and emotion, and it was easy to see. They were enjoying themselves. Their skill performing on their individual instruments was matched by the enthusiasm and the effort expounded in the execution of the music was appreciated by all. The musicians were not playing for themselves, they were playing for us all.
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I was astounded how easily and wonderfully the didgeridoo blended with the sounds of the stringed instruments allaying my previous suspicions of them being overwhelmed by the didgeridoo’s volume.
William provided the occasional chatter and introductions throughout the program. An amusing and entertaining moment occurred when William realised he did not have a Db tuned didgeridoo for the next item on the program.With some improvisation using a toilet roll and duct tape he added an extension to the mouthpiece, and moments later with the strings playing a Db, a note from the didgeridoo confirmed William’s instrument was now in the key of Db. Remarkable to see.
A highlight for me was the Brodsky Quartet playing a traditional Irish folk tune with viola player Paul Cassidy providing the vocals and the instruments adopting a very much traditional Irish fiddle sound. Part way through the song William walks on stage to join in with the singing in a stirring powerful and beautiful melodic voice I was totally unaware of that he had. Although William Barton is well known in musical circles he is probably not as well known to a wider audience as he should be. It’s time to elevate him to highest musical echelons for all to fully appreciate.
From a Barton & Brodsky performance in 2024
Artists
Brodsky Quartet
Krysia Osostowicz violin
Ian Belton violin
Paul Cassidy viola
Jacqueline Thomas cello
William Barton didgeridoo
Program
Henry Purcell: Fantasia in D minor, Z.739
Peter Sculthorpe: String Quartet No.11, Jabiru Dreaming
Robert Davidson: Minjerribah
Leoš Janá?ek: String Quartet No.1, The Kreutzer Sonata
Igor Stravinsky: Three Pieces for String Quartet – 1st Mov. ‘Dance’
Andrew Ford: String Quartet No.7, Eden Ablaze
Salina Fisher: T?rino
Traditional: She moved through the fair
William Barton: Square Circles Beneath the Red Desert Sand
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About Colin Ritchie
Retired teacher who enjoys following the Bombers, listening to music especially Bob Dylan, reading, and swimming.












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