“Brett Dean’s is a voice of fertile imagination, originality and expressive subtlety.”
Chicago Tribune, January 2009
Brett Dean studied in Brisbane before moving to Germany in 1984 where he was a permanent member of the Berlin Philharmonic for fourteen years. Dean returned to Australia in 2000 to concentrate on his growing compositional activities, and his works now attract considerable attention, championed by conductors such as Sir Simon Rattle, Markus Stenz and Daniel Harding. One of the most internationally performed composers of his generation, much of Dean’s work draws from literary, political or visual stimuli, including a number of compositions inspired by paintings of his wife Heather Betts. Dean also performs widely, as solo violist, chamber musician and conductor, and these performing relationships inform and enhance his world as a composer.
Brett Dean began composing in 1988, initially working on experimental film and radio projects and as an improvising performer. He became established as a composer through works such his clarinet concerto Ariel´s Music (1995), which won an award from the UNESCO International Rostrum of Composers, and Carlo (1997) for strings, sampler and tape, inspired by the music of Carlo Gesualdo. He has since been commissioned by the Berlin Philharmonic, Concertgebouw Orchestra, Los Angeles Philharmonic, BBC Proms, Lucerne Festival, Stockholm Philharmonic, Cologne Philharmonie, BBC Symphony, Melbourne Symphony and Sydney Symphony Orchestras among others. In 2009 Dean won composition’s most prestigious prize, the Grawemeyer Award, for his violin concerto The Lost Art of Letter Writing. The work was co-commissioned by the Cologne Philharmonie and Stockholm Philharmonic, and premiered by Frank Peter Zimmermann and the Royal Concertgebouw Orchestra conducted by Dean in 2007.
Recent premieres have included Dean’s first full-length opera Bliss (libretto by Amanda Holden after the novel by Peter Carey), in a highly-acclaimed production by Opera Australia which was described by The Australian newspaper as “a success in every way”. Following the premiere performances in Sydney and Melbourne, directed by Neil Armfield and conducted by Elgar Howarth, Bliss is performed at the 2010 Edinburgh Festival by Opera Australia, and in a new production opening the Hamburg Opera’s 2010/11 season conducted by Simone Young. Elsewhere, Dean’s String Quintet Epitaphs is premiered this season with performances at the Cheltenham Festival, Santa Fe Chamber Music Festival, La Jolla SummerFest and the Cologne Philharmonie. A sonata for violin and piano, commissioned for Midori, is premiered in Stockholm and at London’s Wigmore Hall.
Brett Dean combines his composing activities with a rich musical life performing internationally as soloist, chamber musician and conductor. Since 2005 Dean has been performing his own Viola Concerto, with orchestras including the BBC Symphony Orchestra, Los Angeles Philharmonic, Sydney Symphony, Orchestre National de Lyon, Hamburg Philharmonic, BBC Philharmonic and Dresden Philharmonic. Dean is enjoying increasing success as a conductor, following recent engagements conducting orchestras such as the Los Angeles Philharmonic, Concertgebouw Orchestra, Melbourne Symphony, BBC Philharmonic and SWR Symphonieorchester Stuttgart as part of a 2007/8 season Artistic Residency. Dean was Artistic Director of the Australian National Academy of Music in Melbourne until June 2010.
From the 10/11 season Dean will be Artist in Residence with the Swedish Chamber Orchestra where he will conduct and perform regularly, and elsewhere he conducts the Gothenburg Symphony, Melbourne Symphony Orchestra, Auckland Philharmonia, Birmingham Contemporary Music Group and is soloist in his Viola Concerto with the Residentie Orkest. He conducts and performs in chamber music and as soloist throughout the 2010 Cheltenham Festival and at Norway’s Risor Festival where he is also Composer in Residence. In February 2011 the Wigmore Hall present a Brett Dean Composer Day in which Dean performs within a range of chamber music programmes exploring his music.
Brett Dean’s music has been recorded for BIS and ABC Classics, the most recent release being a collection of Dean’s works on BIS including Water Music, Carlo and the Pastoral Symphony, performed by the Swedish Chamber Orchestra and the Raschèr Saxophone Quartet under the batons of Dean and HK Gruber. His Viola Concerto has also been recently released on BIS with the Sydney Symphony, with Dean reviewed as “a formidable and musical player as well as an impressive composer…an excellent showcase of Dean's range as a composer” (The Guardian).
Brett Dean is represented by Intermusica. www.intermusica.co.uk/dean. The works of Brett Dean are published by Boosey & Hawkes. www.boosey.com/dean.
Biography suitable for summer 2010 and the 2010/11 season.
June 2010 / 677 words. NOT TO BE ALTERED without permission. Please destroy all previous biographical material.
Brett Dean’s extraordinary talent embraces music from many perspectives; he is a musician as much as composer and performer, and each facet complements the other. Here we explore some of Brett Dean’s own works and the other music that he performs as conductor, violist and chamber musician.
Work List Highlights
A selection of highlights from Brett Dean’s work list; for a full work list and detailed information such as durations, orchestrations and programme notes, visit the website of Brett Dean’s publisher Boosey & Hawkes at www.boosey.com/dean.
Ariel´s Music (1995) 25’
Solo clarinet and orchestra
Voices of Angels (1996) 26’
Violin, viola, cello, double bass and piano
Intimate Decisions (1996) 10’
Solo viola
Carlo (1997) 20’
Strings, sampler and tape
Beggars and Angels (1999) 26’
Symphony orchestra
Winter Songs (2000) 17’
Tenor and Woodwind Quintet
Pastoral Symphony (2001) 17’
for ensemble and electronics
Testament (2002) 14’
Chamber orchestra / version for 12 violas
Moments of Bliss (2004) 25’
Symphony orchestra and electronics
Viola Concerto (2004) 25’
Solo viola and symphony orchestra
Click here for further information on the Viola Concerto
Recollections (2006) 14’
Clarinet, horn, percussion, piano, violin, viola, cello and double bass
The Lost Art of Letter Writing (2006) 38’
Violin concerto - solo violin and symphony orchestra
Wolf Lieder (2006) 22’
Soprano and ensemble (min. 17 musicians)
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Performance Repertoire
Brett Dean performs in a variety of guises, as soloist, conductor and chamber musician, and these performing relationships inform and enhance his world as a composer. His own Viola Concerto is a signature piece, performed with many orchestras, and is an ideal introduction to Dean’s musical personality. Alongside his own music he conducts and performs music across a wide spectrum of other composers.
Highlights from Brett Dean’s solo viola repertoire list
Dean Viola Concerto
Mozart Sinfonia Concertante in E-flat for Violin, Viola and Orchestra
Britten Lachrymae
Hindemith Der Schwanendreher
Berlioz Harold in Italy
Bruch Double Concerto (with Paul Dean, clarinet)
A selection of Brett Dean’s recent and future conducting programmes
Gothenburg Symphony Orchestra, March 2011
Strauss Till Eulenspiegel
Mozart Sinfonia Concertante in E-flat for Violin, Viola and Orchestra
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Dean Beggars and Angels
Swedish Chamber Orchestra, March 2011
Sibelius Scene with Cranes
Dean Shadow Music
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Britten Lachrymae
Sibelius Symphony No.3
Swedish Chamber Orchestra, October 2010
Haydn Overture
Martinsson New work
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Dean Etudenfest
Haydn Symphony No.86
BBC Philharmonic Orchestra, June 2007
Dean Amphitheatre (not conducted by Brett Dean)
Dean Viola Concerto (Brett Dean as soloist)
Dean Moments of Bliss
Los Angeles Philharmonic – Green Umbrella Series, October 2006
Dean Voices of Angels
Pateras Chromatophore
Dean Pastoral Symphony
Liza Lim Songs Found in Dreams
Pateras Continuums & Chasms
Netherlands Chamber Orchestra, March 2005
Haydn Symphony no.7 'Le Midi'
Mozart Sinfonia Concertante in E-flat for Violin, Viola and Orchestra
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Vaughan Williams The Lark Ascending
Dean Pastoral Symphony
Melbourne Symphony Orchestra
Andrew Ford Scenes from Breughel
Dean Wolf-Lieder
Michel van der Aa Here (in circles) and (to be found)
Chamber music collaborations and creative programming
February 2011 - Wigmore Hall
Clara Schumann Four Romances
Dean Recollections
Dean Intimate Decisions
Brahms Piano Quintet
September 2010 - Australian String Quartet, Köln Philharmonie
Mendelssohn String Quartet in E flat Major, Op.12
Dean String Quintet
Bruckner Viola Quintet
October 2009 - Australian String Quartet ‘Alchemy’ Tour
Beethoven String Quartet op.18, No.2
Dean Eclipse
Bruckner Viola Quintet
August 2009 - Santa Fe Chamber Music Festival ‘portrait’ concert
Dean Intimate Decisions
Dean Demons
Dean Huntington Eulogy
Dean Eclipse
September 2008 - Ensembles and soloists of the Berlin Philharmonic, Zermatt Festival
Prokofiev Quintet in G Minor, Op.39
Martinu Nonett in F Major, H.374
Beethoven Septet in E Flat Major, Op.20
Dean Wendezeit
September 2008 - Ensemble Wien-Berlin, Lucerne Festival
Mozart Quintet for piano and wind instruments
Dean Polysomnography
Kurtag Wind Quintet, Op.2
Ligeti Six Bagatelles
Poulenc Sextet
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Conductors
Conductors who have recently conducted Brett Dean’s music include:
Marin Alsop, Andrey Boreyko, Martin Brabbins, Baldur Brönnimann, Oleg Caetani, Sylvain Cambreling, Reinbert de Leeuw, Olari Elts, Rumon Gamba, HK Gruber, Daniel Harding, Manfred Honeck, Elgar Howarth, Tonu Kaljuste, Hannu Lintu, James MacMillan, Susanna Mälkki, Jonathan Nott, Sakari Oramo, Sir Simon Rattle, Lawrence Renes, David Robertson, Kwamé Ryan, Esa-Pekka Salonen, Lan Shui, Markus Stenz, John Storgårds, Hugh Wolff, François Xavier-Roth, Simone Young, Lothar Zagrosek.
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Brett Dean, Composer-in-Residence and performer at the 2010 Cheltenham Festival
“The composer conducted his own Winter Songs, settings of EE Cummings completed 10 years ago for the unusual combination of tenor (Thomas Hobbs) and wind quintet (London Wind). Dean creates webs of deliquescent, wintry sounds, through which the singer threads the atomised texts, syllable by syllable; it's fragile and transient, and finally delicately elusive.”
The Guardian, July 2010
"The slipping and sliding of Brett’s multilayered language is the perfect vehicle for seeing into the madness and music of Hugo Wolf. His Wolf Lieder also reveals the deeply observant and compassionate side of Dean as composer, as five songs (here splendidly sung by Claire Booth) explore the sad psychodrama of Wolf’s dementia."
The Times, July 2010
Opera Australia / Bliss (world premiere)
“Although the project outlasted two musical directors, the company continued to devote considerable resources to bringing the opera to fruition. Was it worth it? The answer is an unequivocal yes. A coalescence of Australian artistic talent has created a compelling opera. Bliss was performed with an assurance and confidence that is rare on any opening night.
Although Dean and his librettist Amanda Holden considered Carey's multi-layered novel an ideal operatic subject, I had my doubts. Dean and Holden confounded my scepticism. Certain strands of the story have been incorporated, and others discarded. It is still recognisably Carey's work but it has been successfully transferred into an operatic context.
Bliss also displays Dean's mastery of orchestral colours. Bluesy muted trumpet and jazzy drum beats greet the arrival of the call-girl Honey Barbara. Disturbing tutti shrieks often accompany moments of high drama.
But Dean employs his orchestration talents for higher purposes. Shades of light and dark match the emotions of the characters. Great care was taken to ensure the text was heard clearly over the multi-hued music.
Bliss is a success in every way..."
The Australian, March 2010
“Brett Dean’s Bliss is a formidable piece of work, compelling at every point. Opera Australia delivers it in an authoritative production by Neil Armfield, under the masterful baton of Elgar Howarth and with a central performance from Peter Coleman-Wright where the singing and acting are seamless and there is an absolute sense of conviction through all the loops and lacunae of this difficult story of madness, betrayal and cancer-inducing commerce, some of it translated into music of searing brutality or banality. Bliss makes the dark glory of Britten’s Peter Grimes seem chocolate box…Brett Dean’s score is very impressive.”
The Spectator, April 2010
"The first standing ovation was for Peter Coleman-Wright's warm, wry, beautifully sung performance in the role of Harry Joy, the advertising tycoon who descends into a modern Dante's hell on realising the extent of his life's dysfunctionality.
The second was for composer Brett Dean and librettist Amanda Holden and was prompted in part by relief that this long-awaited contender for the still-unclaimed crown of ''great Australian opera'' has lived up to expectations, and any sense of duty in supporting something homegrown could give way to genuine enthusiasm.
Bliss is a significant work and unusual in operatic terms for the amount of plot detail that Holden works into the narrative. ...The work holds the attention to the end, sustained by Dean's wonderful score.
To his well-known skills as an orchestral composer, Dean has added an under-utilised empathy for the voice. The sung lines drive the musical and dramatic pace, underscored by beautifully detailed instrumental textures, wrought with an innate feeling for the expressive power of instrumental timbre, watched over by counterpoint and fine motivic workmanship."
Sydney Morning Herald, March 2010
“Indeed, Bliss is more deserving of – and more likely to get – wide currency than any other large-scale contemporary opera of recent years. As befits a black comedy, the music bubbles away energetically. Unlike in many new operas, characterised by meandering parlando and descriptive, film-score effects, Dean's music is the motor that drives the drama. His swirling dissonances find space for keen musical parody, and hard edges are softened by lyrical expansiveness”
The Telegraph, May 2010
"Long live Bliss - a Joy forever…
Brett Dean's score pulses with energy and bristles with invention and clarity. There is special beauty, too, in the elegiac ending, as Harry and Honey sing rapturously of their simple and, indeed, blissful, world. In itself, Bliss can only add joy to the operatic firmament. Long may it live."
The Age, March 2010
Eclipse / Australian String Quartet
“An inspired rendition of Dean’s frequently performed quartet Eclipse was the concert highlight… A response to the Tampa incident, Eclipse is a single movement work in three parts; an unsettled atmosphere, created through scattered and overlapping tremolo and pizzicato entries, builds tempestuously and then dissipates into silence. Fluent and precise, the ASQ empathetically realised each effect’s musical subtext; nervy entries became lapping waves and fearful crossings, swamping aggression evoked menacing uncertainty and the sour residue tasted of innocence lost.”
The Australian, 26 October 2009
“Over [Eclipse’s] tremolo-and-pizzicato-driven arc, from which figures troubled in both interval and rhythm paradoxically flash like solar flares, the ASQ demonstrated a frightening emotional investment in both the content and the form. This was the performance of the evening.”
The West Australian, 2 November 2009
“Dean’s sound-world starts by emphasising slow evolving patterns from the lower strings which fray at the edges as the pitch rises to a point of iridescence, like the vanishing point of the sun. It is a vivid aural symbol of the intensity of despair and hope that drives desperate action, leading to a more vigorous and spiky central section, ‘Unlikely Flight’, and a calmer unresolved close. In what is becoming a signature element of his style, Dean combines an exploration of sound with a European sense of phrasing and expression. The Australian String Quartet captured the work’s intensity and complexity with commitment and fine concentration.”
The Sydney Morning Herald, 26 October 2009
Bruckner Viola Quintet with the Australian String Quartet
“With local Berlin Philharmonic alumnus Brett Dean providing viola supplement…mastering the work’s exposed intonation, subtle timbral blends and silky lines, the ensemble’s collective tone was burnished, sustained and scattered with romantic orchestral characteristics.”
The Australian, 26 October 2009
“The Bruckner though, virtually a miniature version of one of the four-movement symphonies for which the composer is chiefly remembered, was only marginally less impressive [than the Australian String Quartet’s performance of Dean’s Eclipse], especially given the participation of Dean, a former violist with the Berlin Philharmonic and a player of formidable musical and technical accomplishment. This was a performance to relish, the ASQ-plus-one quickly coming to terms with the ambitious nature of Bruckner’s scale and textures.”
The West Australian, 2 November 2009
“Dean was on home ground with this work, having spent 15 years in the heart of Austro-German culture with the Berlin Philharmonic, and this broad, almost symphonic work suited his keen musical intelligence.
As a player he is charismatic and this was a performance to be savoured and remembered for a long time.”
Balmain Village Voice, 26 October 2009
Amphitheatre & Moments of Bliss / Cabrillo Festival Orchestra & Marin Alsop
“Brett Dean came from Australia to introduce his Amphitheatre, a short, brooding essay for massive orchestra that generates terrific energy from an oscillating chord change and trumpet fanfares. The work commands attention for its textures and suggestion of great amplitude within a confined space. Dean’s Moments of Bliss, heard on the second programme, is a more ambitious prospect, a suite of material that will be incorporated into the composer’s forthcoming, Peter Carey-inspired opera. Electronics spice the huge orchestral palette; we hear dogs barking and snatches of game-show repartee; the instrumental scoring, especially for a Fafner-like contrabassoon, is striking.”
Financial Times, 11 August 2009
“Australian Brett Dean’s Amphitheatre opened the show, and, on the following night, his Moments of Bliss, four ‘intermezzos’ from his only just completed opera, confirmed great variety and imagination.”
Santa Cruz News, 11 August 2009
“..The darkly evocative Amphitheatre by Australian composer Brett Dean. This one-movement work penetrated in subtle and shadowy ways…It was meant to evoke an ancient amphitheater, and as conceived by Dean conjured dark passages filled with forbidding corners.”
The Sacramento Bee, 10 August 2009
Recollections / Chicago Symphony Orchestra
“Dean, the 2009 recipient of the prestigious Grawemeyer Award for music composition, is a voice of fertile imagination, originality and expressive subtlety.”
Chicago Tribune, January 2009
Ariel’s Music / BBC Symphony Symphony Orchestra
“The work's two movements, Elegy and Circumstances, memorialise mourning and a defiant individuality, caught up in a dance of death. The solo clarinet line - here presented with vivid authority by Michael Collins - naturally dominates. But what is most remarkable is the richness and complexity of the surrounding orchestral writing: its idiomatic exploitation of the ensemble's sections and the subtle impact of their individual and collective gestures.”
The Guardian, April 2008
Voices of Angels / Peabody Trio
"…a masterpiece of mood and sonic texture, spinning its web from a single, much repeated note. What a strangely beautiful world it evokes. This is darkly lyrical music of sighs and silence, giving way in the center to taut, aggressive outbursts before sinking back into the mist (the use of soft mallets inside the piano and on the double bass added to the atmospherics)."
Baltimore Sun , October 2007
Moments of Bliss / BBC Philharmonic Orchestra
"If Dean's vocal writing is half as expressive [as his orchestral], he could be on course to produce the first great landmark opera of the 21st century."
The Guardian , June 2007
Wolf-Lieder / West Australian Symphony Orchestra New Music Ensemble
"Conducted by Dean, the ensemble gave impressive performances of these different, often demanding works. ... The music reveals Dean's wonderful ear for instrumental colour and textural variety and he maintains heightened emotional intensity throughout the work, even during the moments of humour where one might expect a lighter touch. This is a brilliant, captivating piece that deserves more performances."
The Australian, May 2007
Viola Concerto / Auckland Philharmonia Orchestra
"Brett Dean, playing his own Viola Concerto, was outstanding, introducing himself through the sometimes ominous stillness of its opening Fragment. One effective moment had a soaring viola line, a little like Korngold with a dash of lemon, tracked by chattering piccolos....
The spirit of Mephisto was all over these pages, a series of breathtaking dances with Dean in the lead. Rumbling brass, flickering percussion and sprightly woodwind all took their turn as dance partners.
Veiled and Mysterious, its final movement, brought resolution and a moment of memorable dialogue with Madeline Sakofsky's cor anglais."
New Zealand Herald, April 2007
The Lost Art of Letter-Writing, World Premiere / Royal Concertgebouw Orchestra
"Dean is not the sort of composer whose works' first performances become their last ... This half-hour concerto is a narrative... Dean's string-writing is ferociously virtuosic, yet eminently playable. Zimmermann attacks his part with relish, and the poise to breathe life into the lyrical passages. The Lost Art of Letter-Writing is all meaty honesty and no pretension, art without artifice."
Financial Times, March 2007
"The applause for this premiere was as fervent as any special event in Donaueschingen. Judging by Frank Peter Zimmermann's disciplined, yet powerfully convincing performance, Dean has written a work tailor-made for the violin. The solo part is certainly difficult, technically rewarding, yet without having to rely on any circus-like displays. Above all, the violin is allowed to indulge in idiomatic, and emotionally highly-charged monologues representing the outpourings of the various letter writers (including Brahms, van Gogh and Hugo Wolf) around whom the piece revolves."
Kolener Stadtanzeiger, March 2007
"The last minute cancellation of Martyn Brabbins....gave Brett Dean the honour of conducting the premiere of his own piece, inspired by the wonderful violinist, Frank Peter Zimmermann, at his side. The appeal of this work lies substantially in its process of transformation. Its tendency towards celestial sounds (harmonics and glissandi in the solo part, an almost mystical pianissimo of gongs and celli in the second movement's opening) accentuates this aspect, as well as a turning towards melodic ideas. In this age of rapid fire SMS contact, the title of the concerto seems to express a sense of regret about the loss of an aspect of our culture. The letter represented in the finale, however, conjures more rebellious than poetic energies: an Australian outlaw accuses the powerful. So, after three relatively contemplative movements, comes a decidedly moto-perpetuo type finale in which Frank Peter Zimmermann demonstrates what he has to offer in terms of virtuosity, rhythmic energy and crystal clear sound production."
General-Anzeiger, Bonn, March 2007
"Many seductive and rewarding solo passages, stylish orchestral colours and strong rhythmic motives...a powerfully storming attack towards a precipitous conclusion. The work went down extremely well with the audience; the orchestra played sensationally."
Koelner Rundschau, March 2007
"Dean skillfully creates intimate moods of elegy and longing in the Brahms-inspired movement, of almost phosphorescent lyricism in the Wolf movement and of longing for peace in the section dedicated to van Gogh. Frank Peter Zimmermann allowed space for the atmospheric oscillations to grow...In the rapid fire final movement, an absurdly fast presto, the phenomenal technique of the soloist was on full display."
Klassikinfo, Bavarian Radio, March 2007
"Brett Dean writes virtuosically for orchestra. The concise, flowing texture of the multi-layered first movement was astonishing, evoking the air of a warm summer night in undisturbed nature. Creating atmosphere is among the great strengths of Dean's work.....A soft, floating passion informs the soundworld of this piece, and a controlled flow of events."
Sueddeutsche Zeitung, March 2007
"Brett Dean's Eclipse provided a complete gear change, moving into the 21st century and atonality. Dean's notoriously difficult writing was negotiated with fierce concentration by the quartet, with outstanding results. The work was written as the composer's personal response to the "political and social consequences of the Tampa asylum seekers crisis" in 2001. Dean's vastly creative emotional venting leaves a deep impression. Shivering harmonics (light touching of the strings) and scratching trills feature in the first movement, with fractured plucked chords and a polyphonic scramble of motives building the energy in the second movement. The long chords of the final movement feature cello slides and surreal augmented fourth intervals, creating a restless, hazy ending."
The West Australia, July 2006
"Dean describes his new work, Vexations and Devotions , as a sociological cantata. Using text by Dorothy Porter and Michael Leunig, as well as a compilation drawn from corporate mission statements, this three-movement work reflects the de-humanisation of contemporary life as exemplified by reality television, automated answering services and meaningless corporate jargon.
Of course, these themes are bleak and Dean's music perfectly captures their sentiment. Dean's score is complex and multilayered, creating an imaginative array of textures while mostly avoiding any sense of narrative… Dean's writing demands much of the orchestral musicians and WASO responded extremely well under the direction of Matthias Bamert."
The Australian, February 2006
"Cleverly utilising a range of effects, including pizzicatti, glissandi and whispering harmonics, these evocative, tightly structured miniatures are, for the most part, brooding and unsettling, dominated by a threatening, nervous energy that occasionally swells up into frenzied outbursts. Only the elegiac, Arvo Pärt-like finale, Arietta , offers any sense of relief, albeit fleeting and unresolved. Once again, Dean proves that he is a composer with a distinctive voice and singular vision."
The Australian, July 2005
“His new Viola Concerto is a substantial affair, lasting some 25 minutes, elegantly proportioned and full of colourful musical imagery…it’s in that finale that the delicately poised viola lines, spun over glassy cello and percussion textures to begin, threaded between oboe and cor anglais lines in the closing pages, really acquire a poetic character of their own. Dean’s gentle veiled tone projected that lyricism tenderly…”
The Guardian , April 2005
“…Dean has written something as personal as one might expect… the haunting and arresting sounds are all his own, and the bright colours suggest a strong connection to his country’s landscape… Indeed, the peaceful close, in which the previously hectic solo viola emerges purified, evokes a lullaby in which the earth seems to be singing itself to sleep.”
The Times , April 2005
“…[Dean] has lost none of his virtuosity as a performer, while confirming his reputation as an up-and-coming craftsman-composer… Curiously beautiful, somewhat enigmatic? No question.”
Financial Times , April 2005
"The evening began with the premiere of Brett Dean's Moments of Bliss, an orchestral suite drawn from an opera that Dean is writing based on Peter Carey's novel, Bliss …Dean manages to blend the electronic and the acoustic sounds in a fashion that makes previous attempts seem like a rehearsal for their real possibilities. He also backs it with some sensational instrumental writing, especially for bass and contrabass clarinet. I can't wait for the full opera."
The Australian , December 2004
“Dean’s Intimate Decisions , a viola solo played by himself, ended with a diminuendo of unbelievable fineness (a reminder that he was a member of Karajan’s Berlin Philharmonic)...”
The Guardian , July 2004
“The newest chamber work from composer Brett Dean, Eclipse for string quartet, is a beautifully fashioned gem that makes one ponder again the problem of composing program music…Dean’s range and control of textures is outstanding, give Eclipse a remarkable sculpted beauty that many times dazzles the ear.”
The Australian , July 2004
“Dean writes for the quintet as though it is an orchestra, drawing from the players an astonishing variety of texture and colour.”
ABC Limelight Magazine, Australia, January 2004
“In his time as artist-in-residence with the orchestra, Dean has been extremely active: a supportive presence at many MSO events (especially those featuring contemporary music from overseas and works by his Australian colleagues), occasionally sitting in with the viola section, as well as introducing or supervising performances of his own pieces. …the forthright, driving Viola Sonata by Hindemith performed with white-hot energy by Dean and Martin in an excellent, no-holds-barred collaboration.”
The Age, October 2003
“Brett Dean only began composing when he was 27, but has quickly established himself with a series of strikingly imaginative pieces…The European premiere of Dean’s Shadow Music [is] a substantial, three-movement work, full of sombre sonorities, which gradually gains in musical weight.”
The Guardian , July 2003
"Between Moments is a short, contemplative work, with restrained dynamics, long sustained sounds and subtle instrumental timbres. Atmospheric, controlled and sensitive..."
Courier Mail, June 2003
Sydney Festival recital
“Brett Dean's Intimate Decisions started with a series of detached musical intervals, moving from a rather intense, jerky start to furious angularity before subsiding to one of the work's most memorable passages - a short lyrical melody on harmonics repeated with increasing softness until the hair brushed the string like a feather on paper. Playing his own work, Dean's performance was carefree, abandoned and intimately communicative.”
Sydney Morning Herald, January 2003
Philharmonia Orchestra/Brabbins, Royal Festival Hall, London
“Australian composer Brett Dean is also a brilliant viola player. He was a member of the Berlin Philharmonic Orchestra for 15 years, but recently returned to his homeland to pursue composition. ... He played his solo viola work Intimate Decisions as part of the Philharmonia's ‘Music of Today’ showcase of his music. The work evolved from a series of bare intervals into an unstoppable wave of energy. The climax was an impassioned outburst, but the end of the piece returned to the private unease of the opening: a haunting melody, played with whistle-like harmonics, which gradually ebbed into silence. ... The major work on the programme was Winter Songs, a setting of five poems by E. E. Cummings. They reflect Dean's experience of dark Berlin winters after the heat and light of Brisbane. Scored for solo tenor and wind quintet, the music evoked the "filthy slush" and "ugliness" of Cummings's poems with harsh instrumental effects, and a churn of interweaving lines. ... Daniel Norman was a compelling advocate of these vivid songs. But the most impressive moment was the way Dean dramatised the "earth's dying" of the third poem. A chaotic, hard-edged climax subsided in the low rumblings of bass clarinet and horn, and a deathly sighing in the other parts. Martyn Brabbins and the Philharmonia players were alive to the drama of this powerfully expressive music.”
The Guardian, May 2002
“Brett Dean’s Carlo, a mesmeric score for strings, sampler and tape…shows again why Dean is perhaps the most significant of all Australian composers; written in 1997, it stands out as one of an increasingly small number of pieces that successfully mix live and electronic performance."
The Times, October 2001
“Dean the composer had earlier opened the concert with the world premiere of Amphitheatre. It is a beautifully conceived work that, despite its brevity, generates an expansive timelessness that conjures up the imposing landscapes of Sibelius. Dean’s deft handling of a large orchestra is immediately appealing, yet the work has layers of structural complexity that beckon further hearings. ... Then as soloist in Berlioz’s Harold in Italy, a Clayton’s concerto for viola, Dean brought an appropriate understatedness and warmth to the part….”
The Australian, June 2000
“Dean designed his Night Window as a series of nocturnal moods…as uneasy as an unpredictable dream. Its restlessness and a respite of hushed anticipation were riveting…This disquietingly wonderful journey deserves to be repeated.”
Chicago Tribune, January 1999
“It was Brett Dean’s Carlo that captured the real mood of the event…The result, built on Gesualdo´s awesome madrigal, could hardly fail to be effective, yet was also beautifully crafted on its own terms.”
The Independent, May 1998
“Dean’s treatment [of Gesualdan motifs] is brilliantly imaginative, the splintering of vocal harmony into the screams and moans of Gesualdo´s victims forming a particularly graphic climax.”
The Times, May 1998
“The best piece was Brett Dean´s Carlo…The strings mimic, fuse with and distort Gesualdo´s gestures. A
strange 20th Century beauty emerges.”
Evening Standard, May 1998
“In One of a Kind, Brett Dean has created a fascinating work with strong coherence.”
De Telegraaf, Amsterdam, April 1998
“In compression of feeling and visionary excitement, [Brett Dean’s Carlo] may well be the most forcefully strinking achievement in Australian writing for strings since Richard Meale’s Homage to Garcia Lorca of 1963…Dean, in other words, is a real composer and one whose creative reputation must rise dramatically following [this] first performance.”
Sydney Morning Herald, December 1997
"Dean’sIntimate Decisions for solo viola communicated fervor and mastery of instrumental colour."
Melbourne Age, June 1997
“An original voice and an expert sense of timing, to which the audience responded enthusiastically.”
The Daily Telegraph, London, June 1996
“A composer of inventive talent…writing of bold purpose and unconventional technique.”
The Times, June 1996
“Es geht also doch: Neue Musik, die beim Publikem ankommt, ohne sich anbiedernder Erfolgskriterien zu bedienen. Einen ganz eigenen Ton schlägt Brett Dean an. Aus der Virtuosität des Interpreten, der genauen Kenntnis seines Instruments heraus entwickelt Dean seine Kreativität. Sehr subtil ist das ausgehört, von unmittelbarer Wirkung.“
Der Tagesspiegel , May 1996
“As a performer, Brett Dean has a singular ability to launch the rather subdued viola voice into the big Concert Hall space. With his assured sweep of the bow, Brett produced the richest, warmest tone .“
Sunday Mail, Brisbane, October 1995
“His solo playing was as richly endowed as were his imaginative powers in composing Ariel’s Music.“
Courier Mail, Brisbane, October 1995