CONCERTS / RECORDINGS

 

Rachael Beesley is one of those musicians who loves to dismantle an antique clock just to see how it works; here she brings her immense knowledge and musicality to a lovely program and with esteemed colleagues!

Paul Kildea - Artistic Director Musica Viva Australia 2021

 

It is a delightful piece [Berwald Grand Septet], with particularly demanding parts for the violin, and clarinet – beautifully played by the two Co-Artistic Directors of ARCO [Australian Romantic & Classical Orchestra] Rachael Beesley (concertmaster) and Nicole Van Bruggen (principal clarinet).

ClassikON 2021

 

In the fourth movement, [Max Bruch Serenade for Strings] Rachael Beesley‘s playing, with shimmering vibrato, shone as ever.

State of the Art Media 2021

 

Rachael Beesley’s over the top enthusiasm is clearly infectious.

ClassikON 2021

 

Director Rachael Beesley led the string band with energy and enthusiastic choreography of nuance. Her direction of gesture as the Australian Romantic & Classical Orchestra played Tchaikovsky was brimming with the signature startling freshness we have previously discovered in versions of the earlier Mozart and Beethoven.

Sydney Arts Guide 2021

 

Rachael Beesley continued her charismatic direction as she stepped into the shoes of soloist for Mozart’s Violin Concerto in A major KV 219. Beesley’s tone and solo lines were nicely woven through the orchestral accompaniment. In this work the chances to exploit moments of slow, restrained emotion and lyricism were seized as the solo violin intensity rose above the orchestra.

Sydney Arts Guide 2019

 

Very special thanks to Rachael, for...well just being Rachael!! Her amazing playing, guidance, patience and example.

Rob Nairn (Bass) MCM Baroque Ensemble 2018

 

The concert you gave on Saturday night in Canowindra was astounding! I was totally mesmerized the entire evening. Thank you so much for coming to Canowindra and sharing your wonderful knowledge and talent.

Sue Rahilly (audience member) 2017

 

Yes, you are a violin magician. We enjoyed your presentation and your concert this past Saturday enormously. Again thank you and all best wishes.

Martha and Ben Gelin (audience member) 2017

 

This September I was lucky enough to be invited to play with the Australian Romantic & Classical Orchestra (ARCO), the brainchild of long standing colleagues Nicole Van Bruggen and Rachael Beesley.

 

It was an absolute joy to be involved in this project. I have long followed and admired the work of Clive Brown in the UK - he is the author of ‘Classical and Romantic Performing Practice 1750-1900’ - the 'Bible' for any HIP student and professional wishing to have a better knowledge of performance practice post Baroque era. In the UK and Europe most people are aware of Clive's theories but sadly only pay lip service to the notion that string playing techniques were radically different from what is generally assumed merely as a follow on from baroque style. In fact (never known for mincing my words), I will go as far as to say that often musicians just don't even question how playing styles changed and adopt a 'one size fits all' approach. For this reason, it has been a constant frustration to me that most of the orchestras in Europe do not adhere to and experiment with these important techniques.

 

It was therefore a moment of serendipitous joy when I realised through the fog of my jet lagged brain that here was a group of people open minded and dedicated to really getting to the nuts and bolts of what is needed to bring this music to life in a way which makes such complete sense to me and embraces the written evidence that we have of how it is possible to perform this music.

 

It is here that I must admire and congratulate the wonderful Rachael Beesley. ARCO is unbelievably lucky to have a leader who is strongly dedicated to exploring the treatises of the time and who completely follows through with this, translating the texts into thoroughly beautiful and stylistic performance. If ever there was an advocate for an historically informed approach to violin playing in the 18th and 19th centuries, Rachael Beesley is that person. It is rare to find a violinist prepared to take these risks and then be prepared to stick their neck out and convince others to do the same, and as a result what is occurring in this group of musicians is something hugely exciting and special.

 

Add to this the beautiful playing of Nicole Van Bruggen coupled with her boundless energy for organisation and clear artistic vision, and the immense talent, charisma and experience of Richard Gill and you have a winning combination.

 

I enjoyed my time with ARCO immensely and I want to say this: Australia should be thoroughly proud of this orchestra - I believe it to be working in a way which is both unique and refreshing and which makes it not only a National Asset but World Class.

Jane Rogers (Violist) 2017

 

Beethoven’s Romance for Violin and Orchestra No 2  featured Rachael Beesley as the soloist. Beesley played with tenderness and warmth, and created a wonderful dialogue with the woodwind section.

Sydney Arts Guide 2017

 

Romance for violin and orchestra No. 2 F major Op. 50 brought Rachael Beesley to the fore on solo violin where she displayed her wonderful touch and virtuosity, along with a great sense of the intricacies of the interplay between the soloist and the rest of the orchestra. The counterpoint between the lighter melodic patches and the more dynamic darker elements was a great feature of this piece, and was beautifully handled.

ClassikON 2017

 

Director Rachael Beesley then led from the violin in an engaging reading of the same composer’s F Major Romance, her bright, light tone soaring perfectly over the warm accompaniment while she decorated the lyrical line with grace, flair and just the right degree of sentiment. The delicate ending was quite exquisite.

Limelight 2017

 

Haydn’s Romance certainly screams Mozart in the beautiful sweeping lines played sensuously by lead violinist Rachael Beesley. Recently launching orchestra seventeen88 in Sydney, it’s no wonder that Rachael is highly regarded as guest concertmaster and director.

ClassikON 2015

 

L'Orfeo Led by Rachael Beesley, the orchestral sound had an authentic delicacy and responsiveness.

Canberra Times 2014

 

...the concert continued with Haydn’s G major violin concerto. This was another concert highlight in which Rachael Beesley doubled as both the soloist and director. She played with an attractive, mellow tone and her stylish phrasing brought out the elegance and poise of one of Haydn’s finest works.

Sounds Like Sydney 2014

 

The players took turns in the spotlight, particularly Rachael Beesley’s eloquent violin...but whether tailored to court or pub, sombre occasions or rustic festivals, this music was delivered with conviction and eloquence.

The Age 2014

 

The highlight for me was Mendelssohn’s String Symphony, directed by concertmaster, Rachael Beesley. Beesley sculpted beautiful phrases from Mendelssohn’s writing and brought out an incredible amount of depth and emotion in the music.

ClassikON 2013

 

...the Violin Concerto in G major by Haydn in which the guest director Rachael Beesley demonstrated her brilliance as violin soloist as well as director.

 

...the group had a charming earthiness, yet a touch of elegance, as I imagine the court orchestras of Europe would have been. I have always enjoyed the strength and confidence of Stamitz’ music, and by the way NZBarok played it, they enjoyed it too.

Fairfax NZ News 2013

 

Beesley’s solo playing in the Haydn’s violin concerto had discerning style.

 

[NZ]Barok’s rhythmic vibrancy and emotive spontaneity aroused the audience...

Listener, Christchurch NZ 2013

 

...and with [guest concertmaster, Australian Brandenburg Orchestra] Rachael Beesley’s very expressive and moving soloistic phrasing, the voices of the period instruments and gut strings were distinctive in the lush setting.

 

Rachael Beesley’s violin solo deserves mention too, for being extremely expressive and she has so subtle a touch.

Berkshire Review - International Journal for the Arts 2012

 

...Rachael Beesley's violin solo was as compelling as it was beautiful [guest concertmaster, Australian Brandenburg Orchestra].

Sydney Morning Herald 2012

 

The Orchestra Project [led by Rachael Beesley] were idiomatic, sensitive and accomplished....if this if the future of Melbourne music, it’s in good hands.

The Age 2012

 

The period-style experts of Ludovico’s Band [concertmaster Rachael Beesley] sustained a high level of ensemble and dynamic responsiveness, the strings a constant delight for their supple linear interweaving...

The Age 2012

 

...the virtuosic violin music of the original [Vivaldi’s violin concerto Spring from The Four Seasons], dispatched with professional fire and precision by Rachael Beesley [guest concertmaster, Australian Brandenburg Orchestra].

Dall’Abaco’s Concerto in G minor, Opus 6 No.5...was spirited and led with gracious comeliness of phrase by Beesley.

Sydney Morning Herald 2011

 

...impressive orchestra [AKBarok] led by Rachael Beesley, best known over the Tasman as [guest] concertmaster of the prestigious Australian Brandenburg Orchestra.

The Spring concerto from Vivaldi’s Four Seasons defined the afternoon. When the music was meant to murmur it did just that, with feathery buoyant textures; and first movement “thunderstorms” were appropriately shiver-inducing. Beesley, with Miranda Hutton and Graham McPhail, offered the sweetest bird choruses.

A lovingly sculpted account of Corelli’s 4th concerto...ended the afternoon, with an Adagio so intensely moving that an encore of a lingering Vivaldi slow movement was appreciated by all.

The New Zealand Herald 2011

 

...the ABO [Australian Brandenburg Orchestra], under guest concertmaster Rachael Beesley, played tightly and intelligently throughout this program.

North Shore Times 2010

 

...impressive supportive solos by violinist Rachael Beesley [Australian Brandenburg Orchestra].

The Australian 2009

 

First and foremost, there is the orchestra [Orchestra of the Antipodes]...led by Rachael Beesley. It would be hard to imagine a finer ensemble of early-music practitioners and Charpentier’s slippery score comes alive in their hands.

Sydney Morning Herald 2008

 

The ensemble [Salut! Baroque] moved together and was particularly well led by principle violinist, Rachael Beesley.

Canberra Times 2008

 

Rachael Beesley and Julia Fredersdorf have been playing recently in Europe's best early music ensembles, such as Les Arts Florissants, La Petite Bande and Le Parlement de Musique, and also with Australia's most celebrated period ensembles such as The Australian Brandenburg Orchestra and the Orchestra of the Antipodes. Together...these two violinists give scintillating performances of this all-too-rarely-heard repertoire.

ABC Classics 2006

 

Particular praise for the top-notch solo violin playing of Rachael Beesley...so sweetly lyrical....it was a treat.

Early Music News 2005

 

The choir [Sydney Philharmonia Choir] stood in a circle around violinist Rachael Beesley for Raffaele Marcellino’s Ein Psalm Davids...Beesley’s solo soared with Bachian violin figurations as though one aspect of Bach’s art, the chorale, had been prised open to reveal another.

In the uplifting tenor aria Des Vaters Stimme, McMahon’s clear melodic line was beautifully accompanied by fluent obbligato of violinist Rachael Beesley...

Sydney Morning Herald 2005

 

Baroque violinists Paul Wright and Rachael Beesley summoned an almost filial relationship throughout the evening, but nowhere finer than their sense of awakening in Biber’s Partita VI. It was an evening of excellence.

Herald Sun 2003

 

...outstanding soloist, violinist Rachael Beesley with her virtuosic playing and story telling...

Haagsche Courant 1998

 

 

 

TEACHING

 

Letters from violin/viola students from The Royal Conservatoire, The Hague, The Netherlands:

 

I do not know if you still remember me - you gave me two lessons at the Koncon last spring, which literally changed my life. It's been a long time since I wanted to write a thank you email to you to express my gratitude, as these lessons proved to be a break-through in my violin playing. I have always been very tensed while playing, suffering a lot from physical pain in my back and frustration. You took most of it away, freeing me from tension in the arms, which had been a stumbling block for years. Since lessons with you I made a huge progress on the violin. Thank you so much, I will never forget that.

 

First of all I want to thank you for the lesson on Friday! You gave me such amazingly good advice on my left and right hand problems! Many things that I kind of already gave up hope on became clear to me after your advice, and now I believe with this help and with the corrections I now started working on, my playing can still develop further!

 

Thanks for the info and thanks for a wonderful couple of lessons, you've no idea how much calmer and more focused I feel. Though you must have been told before, as well as being a beautiful player (and person), you're the most fabulously inspiring teacher and I know now why I came. I look forward to all our lessons and discussions in the future!

 

 

 

FLOW

 

Feedback responses from music students who have have attended courses on Practising-in-Flow at The Royal Conservatoire, The Hague, The Netherlands and have experienced what a difference Flow can make to their practice and performance:

 

The idea of awareness while playing has been a helpful discovery and is helping me in every performance, practice and lesson :) I think that flow should be part of the training of every musician.

 

It has been also very influential in my way of facing goals and challenges during the studies: what is possible and what is not, what is a challenge and in which way is possible to increase the interest in something that apparently is not a challenge.

 

Flow helps us to enjoy every moment of the learning process without being stressed and at the same time trying to organise our concepts to make our learning process more productive.