Olli Mustonen, Bach & Shostakovich - Australian Chamber Orchestra

Olli Mustonen, Bach & Shostakovich

12 - 20 September 2015


JS BACH Concerto for Keyboard in D major, BWV1054
HINDEMITH The Four Temperaments
OLLI MUSTONEN Sonata for Cello & Orchestra (World Premiere)
SHOSTAKOVICH (arr. for string orchestra) String Quartet No.9


Olli Mustonen Conductor & Piano
Arvid Engegård Lead Violin
Timo-Veikko Valve Cello

“Formidable technique and idiosyncratic style”  ★★★★★ The New York Times

“A truly astonishing command of keyboard technique” The Herald (UK)

Olli Mustonen is music's ultimate triple threat: a virtuosic pianist; and extraordinary conductor; and, an outstanding composer. You can experience all three facets of our formidable friend when he appears as soloist in Bach’s Concerto for Keyboard, directs Hindemith’s The Four Temperaments from the piano, then invites our very own Timo-Veikko Valve to perform the world premiere of his Sonata for Cello and Orchestra.
This will be an enthralling performance. Hindemith’s The Four Temperaments is a lush, bluesy ballet, while Mustonen’s Cello Sonata is a gripping tale from a deft storyteller. Bookending the evening are wise and exhilarating masterpieces from Bach and Shostakovich.

Download the Concert Program (PDF) or View Online

Free pre-concert talks:

Canberra - Llewellyn Hall, with Ken Healey
Sat 12 Sep 7.15pm

Melbourne - Arts Centre, with Caroline Almonte
Sun 13 Sep 1.45pm
Mon 14 Sep 7.15pm

Adelaide Town Hall, with Jim Koehne
Tue 15 Sep 7.15pm

Perth Concert Hall, with Cass Lake
Wed 16 Sep 6.45pm

Wollongong Town Hall, with Francis Merson
Sat 19 Sep 6.45pm

Sydney Opera House, with Francis Merson
Sun 20 Sep 1.15pm


'We get to hear another side of this talented pianist, for he is no mean composer. Mustonen wrote his cello sonata in 2006 and this is a world premiere recording. It's accessible, tonal music with a feeling for landscape and legends such as you find in Sibelius.'

The Observer

'Steven Isserlis and Olli Mustonen capture beautifully the dark anguish of the first and the liberated effervescence of the second [cello sonata], an energy that spills over into Mustonen's own, immediately appealing 2006 sonata, the long, song-like lines of the fourth movement a particular joy.'