Beautifully meditative work for oboe, horn, and strings.
What the critics have said: “Amidst the sweeping battle cries of every other piece, the afternoon’s eye of the hurricane came in the form of Paul Terracini’s own composition, Benjamin (originally scored for the 1997 film The Hymns of the Forefathers). Steeped in a deeply meditative and calm atmosphere (his own words), Benjamin allowed the orchestra to showcase a completely different side of its musicality. The textures here were stripped back, soft and delicate. Free from the acoustic pressure of competing with booming percussion and overbearing brass, the KPO musicians settled into a beautifully phrased, tranquil state of focus that stood out in the program by way of complete contrast”. Richard Wong, Classikon.
“For me, two highlights were Khachaturian’s Adagio from Spartacus and Terracini’s Benjamin. The Adagio is one of the most sweeping and instantly recognisable masterpieces in the classical repertoire, and the orchestra embraced its lush strings and soaring emotionalism with beautiful control. There was something satisfying about hearing a conductor lead his own composition. Benjamin created a meditative, reflective pocket, drawing the ear inward with its rich string writing and shifting emotional colours. Originally written for Hymns of the Forefathers, it evokes the landscape and heritage of early pioneer life, with Terracini shaping the work through subtle changes in mood, phrasing and texture. The orchestra responded with remarkable sensitivity, allowing the music’s quieter emotional complexity to emerge without ever becoming static”. Faith Jessel, Faith in Theatres.
Beautifully meditative work for oboe, horn, and strings.
What the critics have said: “Amidst the sweeping battle cries of every other piece, the afternoon’s eye of the hurricane came in the form of Paul Terracini’s own composition, Benjamin (originally scored for the 1997 film The Hymns of the Forefathers). Steeped in a deeply meditative and calm atmosphere (his own words), Benjamin allowed the orchestra to showcase a completely different side of its musicality. The textures here were stripped back, soft and delicate. Free from the acoustic pressure of competing with booming percussion and overbearing brass, the KPO musicians settled into a beautifully phrased, tranquil state of focus that stood out in the program by way of complete contrast”. Richard Wong, Classikon.
“For me, two highlights were Khachaturian’s Adagio from Spartacus and Terracini’s Benjamin. The Adagio is one of the most sweeping and instantly recognisable masterpieces in the classical repertoire, and the orchestra embraced its lush strings and soaring emotionalism with beautiful control. There was something satisfying about hearing a conductor lead his own composition. Benjamin created a meditative, reflective pocket, drawing the ear inward with its rich string writing and shifting emotional colours. Originally written for Hymns of the Forefathers, it evokes the landscape and heritage of early pioneer life, with Terracini shaping the work through subtle changes in mood, phrasing and texture. The orchestra responded with remarkable sensitivity, allowing the music’s quieter emotional complexity to emerge without ever becoming static”. Faith Jessel, Faith in Theatres.