“The London Chorus, one of the city’s most prestigious choirs, presented a very special concert under the baton of guest conductor Adrian Brown…The programme opened with Brahms’ Schicksalslied (Song of Destiny), a work of striking emotional tension. The centrepiece of the programme was the world premiere of Australian composer Andrew Schultz’s Piano Concerto, Op. 114, performed by Rosemary Tuck. This beautiful and deeply expressive new work, in two movements, continues a theme of enlightenment and self-discovery, echoing the contrasts first explored by Brahms…. an unforgettable evening of music-making. The programme – rich in artistic depth and emotional contrast…

At the heart of the programme was the world premiere of Australian composer Andrew Schultz’s Piano Concerto, Op. 114, performed by the internationally acclaimed pianist Rosemary Tuck…..Schultz has described the concerto’s two movements as unfolding from a first movement that is “expansive, tender and slow” to a second movement that is “in constant flight – fast.” Tuck delivered the premiere with brilliance, clarity and expressive insight, offering a compelling interpretation of this vivid new Australian work. Her involvement, including her commissioning history with Schultz, stands as a powerful example of the mission to support Australian musicians whose work resonates on the international stage.”

[AMF News, London, October 2025.]

Rosemary Tuck, Adrian Brown, New London Orchestra, Cadogan Hall London, October 2025

“Cantilena Ocean Sky opens with the promise of a new dawn. While the title nods to Richard Meale, it also reflects Andrew’s own obsessions. Expansive and slow, it rises from a sunrise into a free-spirited melody, alternating with cascading figuration, underpinned by rich chords that build to an astonishing climax.

Canticle of the Birds connects more directly with Richard’s Simurgh . Rather than retelling the legend literally, Andrew draws on its ideas – constant flight, motion and the journey towards enlightenment. He became especially taken with the phenomenon of flocking and the “committed minority.” I remember him describing the sensation of standing in a forest as birds darted and swooped all around.

Though not an attempt to reconstruct Richard’s sketches, Andrew used all the material Richard left. He particularly enjoyed the interplay between the Prometheus scale and the diatonic harmonies in Richard’s theme, which Richard himself had harmonised with jazz inflections and even Messiaen-like colours. Andrew extends this further. I remember Richard singing the theme down the phone; it always seemed otherworldly, a call from beyond. Andrew made it the only theme he quoted in full.”

[Rosemary Tuck, “Richard Meale’s unfinished Concerto takes flight,” Limelight Magazine, October 2025.]

View All Program Notes