Reviews

Reviews of String Octet

“The other work on the program was one of the most interesting in the entire Festival. Harry Sdraulig, the Festival's composer in residence, wrote a string octet in 2017. It was not, thank goodness, called Wallabies jumping or desert flowers, but simply Octet for strings. Having heard and enjoyed his The Colours Change in Ensemble Offspring's concert the previous day, I was eager to hear a more substantial piece by Sdraulig. Displaying both structural coherence and real tunefulness, as well as rich textural variation, it held my attention from start to finish. Wonderful to hear Irena Morosova playing sumptuous solos, gorgeous phrasing from Dimmity Hall, and fabulous rich gestures from both cellists. The work exploited the possibilities of the double string quartet almost better than the Mendelssohn. I pronounce Harry Sdraulig as the most interesting voice in Australian composition for many years.” – Australian Stage

“As we reached the grand culmination of this year’s Blackheath Chamber Music Festival, anticipation soared for the riveting final concert as the two festival quartets joined forces to perform a contemporary masterpiece by Australian composer Harry Sdraulig alongside Mendelssohn’s timeless Octet in A-flat major. One of the hallmarks of such festivals is the unique opportunity for audiences to engage directly with composers and performers, and as Sdraulig himself was at this event he offered insights into his vision for the Octet – a singular, expanded movement characterised by dynamic shifts, from brisk tempos to gentle melodic passages, and culminating in a virtuosic finale. The performance unfolded with gripping intensity, as a haunting viola solo, evoking echoes of distant birdcalls, soared above a backdrop of suspenseful, almost ominous, pizzicato. The precision and timing of the ensemble were impeccable, captivating the audience in a spellbinding display of musical mastery. Transitioning into the contemplative middle section, a sense of serenity enveloped the hall, perhaps serving as a prelude to the impending storm? As tensions mounted, the music surged into a frenzy, with each instrument contributing to a crescendo of exhilaration the final bars akin to a musical Mexican wave, as solos were passed seamlessly between players. Observing the silent communication among the eight virtuosic musicians – shared smirks, subtle leans, nods, and winks – added an extra layer of intimacy to the performance, drawing the audience even closer.” – ClassikON

“The concert opens with Harry Sdraulig’s Octet For Strings, commissioned for Musica Viva Australia by Geoff Stearn and premiered by the Goldners and the Orava Quartet during the 2018 Huntington Estate Music Festival. It is an apt choice for their final reunion, and Sdraulig is on hand to introduce the work. Comprising a magnificent single movement, it opens with the work’s leitmotif before a dark and lamenting viola solo from the Goldner’s Irina Morozova. This then leads to some fine layering by Sdraulig before a frenzied passage which begins much like Rimsky-Korsakov’s Flight of the Bumblebee. After some beautifully executed transitions between various configurations of the two quartets, including virtuosic solos, impassioned ensemble moments and meditative moments of total respite, the work builds to a rhythmic climax that sets the tone for the rest of the evening.” – Limelight Magazine

Reviews of Slanted (commissioned by the Australian Chamber Orchestra)

“At 30, Sydney composer Harry Sdraulig is very much a rising star. His Waltzing Matilda Fantasia, commissioned and recorded by Yo-Yo Ma and Kathryn Stott, has received plenty of air play. His latest work Slanted, 18 variations on an opening theme which slopes in its pitch and structure, was given its world premiere performance by Gringolts and the ACO. With its slow and fast halves the work is intriguingly off-kilter and intense, with ticking rhythms and dense discords evaporating to a dreamy and romantic solo violin ending. Sdraulig cites late Romantic Polish composer Karol Szymanowski as a strong influence but in this excellent piece this listener could hear echoes of Béla Bartók and even Bernard Herrmann coming through. The Melbourne-born composer, who was in the audience not only for this premiere but to see his sister Eliza perform in the ACO’s cello section, must have been well pleased with the performance and enthusiastic ovation.” – Limelight Magazine

“Slanted, a new ACO commission by Sydney-based composer Harry Sdraulig, explores the search for “truth” in modern-day media. Sdraulig’s subtle handling of rhythmic and textural elements impresses, and his broadly modernist idiom is offset by some fervent soliloquies delivered by Gringolts and principal cello Timo-Veikko Valve.” – The Age

“Slanted, by young Sydney-based composer Harry Sdraulig, was in a different way, also an exercise in minute adaptations of musical style, each of its 18 variations giving its quietly creeping, fragmented opening theme a different “slant” in terms of which features were emphasised. The overall shape, however, came across in two main sections, the first half evolving rapidly with nervous energy, the second pulling back to quiet chords pregnant with tension. Moving through a warm cello solo and undulating calm, the piece found its moment of truth in a plateau of emotional intensity before a short moment of drama at the close.” – Sydney Morning Herald

“Better followed with Sdraulig’s new work. I can’t quite grasp the rationale behind Slanted, even if the composer explains it in two ways: the first, in terms of the actual music’s shape, its architecture as the 18 variations elide into one another; then, as a social commentary on the biases with which we’re all infected these days. Not ignoring these descriptor/explanations, you tended to become less concerned with the underpinning dialectic and more enthralled by the composer’s felicitous writing: expertly shaded, clearly defined in its allocation of responsibilities, gripping in its athletic first part and subtly atmospheric when the tension eased rhythmically for the later stages. It reminded me of several all-strings scores (well, of course, given the timbral potentialities) but carved out an individual stature by means of its remarkable definition, like a solidly sculptured torso. In some ways, it recalled the Frank Bridge Variations but with less glitter: Britten with balls.” – Clive O’Connell

Reviews of Torrent for orchestra (commissioned by the Sydney Symphony Orchestra)

“But before we got to that, the program started in spectacular fashion with a new piece, Torrent by Sydney composer Harry Sdraulig, commissioned as part of the SSO’s 50 Fanfares Project. Although only eight minutes long, the work covers a lot of ground and shows the composer’s mastery of the orchestral palette with rushing streams evoked by the strings and, unusually, vibraphone before the oboe introduces a calmer interlude. Woodwind and muted brass add more colours and texture before Associate Concertmaster Harry Bennetts’ solo violin, accompanied by piccolo, lends a Shostakovichian touch. Trumpets announce the return of the inundation of the opening bars and it all finishes with a brassy blaze worthy of Sibelius.” – Limelight Magazine

“Preceding this was the premiere of Harry Sdraulig’s Torrent, a short and frenetic piece with lively, unpredictable rhythmic energy, yet with evidence of thought in the exploitation of the orchestra’s sonic resources.” – Sydney Morning Herald

“On the evidence of Torrent which opened the concert, the young Australian composer Harry Sdraulig is a promising talent. Commissioned as part of the SSO’s 50 Fanfares project, the work far exceeded what might be expected of a fanfare, and in essence amounted to a miniature tone poem in ternary form. The opening captured the spirit of the title, with surging lines and scurrying phrases and mysterious pizzicato prominent. The middle section featured solos, most prominently for the oboe and later for the concertmaster, the latter evoking the feel of film noir through a slightly acidulous melody above sfumato orchestral writing, before the faster opening materials returned, with added driving ostinatos taking the work to an exciting finish.” – BachTrack

“Harry Sdraulig’s…contribution to the fifty Fanfares Commission was a piece called Torrent. Bravo Harry! He used the full resources of the orchestra to produce impressive work. His orchestration was skilful and the climax soared. He fitted a lot of ideas into eight minutes and I look forward to hearing more of his work. I think Harry has gone to number one in my unofficial ranking of Fifty Fanfares.”– JWire

Reviews of Other Works

“After interval, came Beyond the ridge, the ranges far, by Sydney-based composer and educator Harry Sdraulig, also a world premiere. Commissioned by long-term supporters of the CSO, Gisela Püllen and Karl Gordon, the work is for solo cello and orchestra. It is conceived as a tone poem and based upon Püllen’s and Gordon’s shared love of hiking and the outdoors (a very bush capital thing). Sadly, Püllen passed away just before this concert performance. Sdraulig created aural aspects to reflect parts of nature through music, such as mountain peaks represented by orchestral climaxes. With CSO principal cellist Patrick Suthers playing the solo part, it opened with a gentle pulse for woodwinds. Then soon, the first of the crashing fortissimos. The yearning sound of the solo cello over the other players proved a classy and colourful composition. Suthers performed with an intense passion and intimacy. He made the music speak with a penetrating earthiness. Like a dramatic sunrise, the music spoke of an ethereal experience as the voice of the cello slowly led the orchestra to a gentle and moving finale.” – Limelight Magazine

"The masterpiece of the evening was the first piece, Aubade composed by Harry Sdraulig. Aubade meaning dawn or early morning, it was a fantastic opening piece full of warmth and somewhat reminiscent of desert sunrises"– ClassikON

"The highlight of the evening was definitely Kaleidoscope by Australian composer Harry Sdraulig, who recently won the Cybec 21st Century Composers Award. The witty young composer has been mentored by eminent Australian composers Brenton Broadstock and Julian Yu and admits to be a grand admirer of Takemitsu. After Sdraulig’s Kaleidoscope commenced I could not help but think of Takemitsu’s soundworld and evident similarities in style. Although the work has never been conceptualised as music for film it would work well as such and fitted the concert’s theme perfectly. After an explosive start the music turns spheric immediately and later becomes a dance. The work has been written for a small string group (double strings and double bass) juxtaposed to a rather large woodwind, brass and percussion group. Sdraulig balanced the instrumental sections with finesse and the powerful grooves—solidly supported by the MSO percussion section—enhanced the overall impression. The MSO seemed to enjoy playing the work and the audience loved their home-grown music."– Classic Melbourne

"Harry Sdraulig's new Kaleidoscope: striking in its construction and dramatic vehemence if let down by a lack of sufficient strings to do the score full justice."– Sydney Morning Herald

"Harry Sdraulig’s Kaleidoscope was chosen as the first Cybec piece of the festival. Sdraulig was able to develop the piece with guidance from the composers Julian Yu and Brenton Broadstock. In a short interview with De Ridder, Sdraulig explained that he wanted to make the most of the timbre of each instrument in the orchestra. Like the coloured crystals of a kaleidoscope, each instrumental colour shines through the rich orchestral texture. Sharp attacks from the keyboard percussion punctuate winding, Stravinskian woodwind lines and driving string-section rhythms."– Partial Durations

"Joel Brennan, on a flugelhorn, also played Harry Sdraulig’s 2014 Ballade from the gallery. This is an exceptionally fine work, and was played with enormous subtlety by the soloist, who conjured an introspective tone from his instrument. It is hard to give a proper impression of Sdraulig’s style, which seems to be a highly personal take on the music of the English Pastoralists. This is one of the more interesting contemporary works I have heard recently, idiomatically written for both organ and flugelhorn and with more than enough interest to sustain its length. Sdraulig’s is a compositional voice well worth keeping an ear on."– Classic Melbourne

“Starting off the afternoon was the world premiere of Harry Sdraulig's commissioned work 'Speak'. In two parts the first being 'Dialogue' was a brilliant energetic painting of wild conversation. I was at first amongst the caricatures of man like birds pecking with pointed beaks as they pranced around the camp fire and at the same time rushing noisily around a big city intersection. The animated yelling and squawking , the exchange of loud conversation in a busy land. Perhaps just me but it was so vibrant and as I said i saw both an aboriginal fire gathering and perhaps rush hour in the city both at the same time. We then moved to the second part 'Inner Speak' and it was now internal, more contemplative, relaxed and measured. I simply loved this piece and did get to congratulate sincerely the young composer Harry who was there.” – Barry Stone

"The first half of Sunday’s substantial program began with the premiere performance of Crossway for Orchestra, by Harry Sdraulig, commissioned by the Zelman Symphony for this event. A work in four movements, it takes us on a journey from misguided optimism to yearning for tranquillity, through uncomfortable energetic hostility, to brokenness, and finally to hope. Influenced by his connection to war through Polish grandparents, Sdraulig’s work is contemporary but tonal, and uses orchestral colour and changing rhythmic devices to expressive effect. The orchestra handled these aspects very capably, and highlights included a very expressive violin solo (Wilma Smith), some exciting brass and percussion, and an oboe solo calling as though a human voice, leading the way from darkness towards hope, where we heard long sections of unison playing in the orchestral parts, a gesture to unity. The composer was acknowledged warmly as he entered the stage from the stalls where he had been listening along with a large audience."– Classic Melbourne

"Crossway, a work newly commissioned by the Zelman from Harry Sdraulig, opened the concert. Cast in a traditional four-movement mould, Crossway is a confident and expressive symphonic essay that is perhaps somewhat flavoured by American symphonists of the last century. Sdraulig, a Melbourne-born but Sydney-based composer, pays homage to his Polish grandparents; his grandmother was a member of the Polish resistance and his grandfather played trumpet in a Polish army band and was interned as a prisoner of war. The slow-movement violin solo, sensitively delivered by Smith, enhanced the work’s poignant moments."– Limelight Magazine

"Harry Sdraulig's four-panel piquant Crossway enjoyed its world premiere."– Sydney Morning Herald

"Sdraulig’s Evocations are my favourite of Sdraulig’s pieces. Delicate and detailed they are, as he writes in his program note, “incantations” with a ceremonial quality that Plexus achieves with extreme focus and coordination across the ensemble. There was something nicely detached in this music, like surveying a model city with its tiny figures painted in bold block colours."– Partial Durations