Comment vivre dans un monde où il n'existe plus ?
Finn, sculpteur, et Bridget, biologiste, tous deux originaires de Tasmanie, viennent de s'installer avec leurs deux enfants au nord de Sydney dans l'espoir de sauver leur couple. Étrangers sur cette terre baignée de soleil, ils tentent tant bien que mal de se retrouver et de prendre leurs marques. Jarrah, leur fils de quinze ans, s'adapte lui aussi difficilement à sa nouvelle vie. …
The concerto, such a familiar feature of the modern concert landscape, seems a simple thing in its opposition of individual and group. But its early history is not so simple; composers had to find structures that would support contrasts between one or more soloists and an orchestra. The "classic" Baroque concertos of Corelli actually represented a simplification of experiments carried out by earlier composers, the Bolognese Giuseppe Torelli central among them. Torelli is usually associated in Baroque listeners' minds with a few trumpet concertos, two of which (labeled sinfonias) are heard here. The short concertos for one or two violins (mostly six or seven minutes long, for three movements) are rarer but very attractive. They don't have the clean symmetries of the Vivaldian concerto, instead exploiting various ways of breaking up a movement into solo and tutti. Although short and essentially compact, each movement has an aspect of free imagination that is nicely brought out by the veteran English early music conductor and violinist Simon Standage, who joins with several other well-known soloists from Britain's historical-performance movement.