Bringing the voice of angels, the Brandenburg Orchestra returns
When you get a group of musicians together, they want to get as close as possible, says Paul Dyer, artistic director of the Australian Brandenburg Orchestra.
“It could be two violinists sharing a desk, or singers who need to be able to hear each other in order to blend in,” he says.
In the first days after the lockdown, this was a problem. At the OBA Christmas concerts in Sydney, there were mandatory distances of 1.5 meters or more: “you can imagine how difficult it was for people who were supposed to mix”.
But something beautiful happened.
“It forced us to listen to music in a different way,” he says. “To really listen to yourself. Use our ears with such fine hearing, to use our skills. “
It was the sublime. There was also the ridiculous: “I went on stage to [one] the concert and the desks were in such a position – and they weren’t allowed to be moved, of course – that I couldn’t really take center stage. I had to make my way through the stands and everyone started to laugh.
Another labyrinth the orchestra has had to navigate is the digital realm. Like most orchestras, ABO found that the necessary digital hub brought unexpected benefits.
“It was a huge success for us because it was able to attract a whole new audience that we didn’t know. [about]Dyer says. They are watched in 86 countries and the largest age group is 25-30.
It’s a good impression: when the orchestra was founded, they were all young musicians. Dyer is thrilled to have jumped generations again.