By Izzy Eagles, 2026 Media and Communication Fellow
A toasty program by the Tasmanian Symphony Orchestra, conducted by the equally warm-natured Alan Buribayev and soloist Maximillan Hornung drew a substantial crowd to Federation Hall on Friday night, providing much needed refuge from the Tasmanian cold. TSO commissioned, Saqqara Bird by Melody Eötvös, and Viennese school classic Haydn’s Cello Concerto in D Major Op 101 and Schumann’s Symphony No. 3 warmed the hearts of all those in attendance.
Set for the work to follow, Eötvös’ mysterious style was accentuated with the reduced orchestra. Simple, refined and versatile; a solo from concertmaster Emma McGrath elegantly yet adventurously danced back in time to the sounds of ancient Egypt. Contrasting layers of suspense and soaring in the orchestra bolstered the vision set by the ensemble’s lead musician.
Lloyd Hudson, clearly accustomed to portraying fluttering birds, delivered his crisp piccolo solo, reaching and darting into every crevice of the hall. Like drifting off into thought, Hudson and principal flute, Rosie Gallagher, made a satisfyingly tuned unison flute and piccolo diminuendo seem effortless. The duo faded into the silence of the auditorium which was met by a welcoming applause.
Musicians disappeared side-stage and the stage was reset to make way for the showcase piece; Haydn’s Cello Concerto in D Major Op. 101, starring internationally renowned German Cellist, Maximillan Hornung as soloist. Graceful conducting by Buribayev along with Hornung’s sincere smiles during tutti sections brought musical sunshine right from the exposition. With a full-bodied tone, virtuosic agility and playfulness akin to the likes of Haydn himself, Hornung did not lose momentum from the opening notes through to the final cadence of his encore.
Hornung’s cadenzas skillfully showcased clean double stops amongst runs that spanned the distance of the fingerboard, sacrificing several bow hairs for virtuosic commitment. He continued to impress with double-stopping in the final movement, while giving the audience a taste of the thick, lower register.
The reduced classical orchestra enhanced the nuances in Hornung’s playing. Emphasised by closed eyes and swaying from side to side, Hornung’s already delicate, deliberate ends-of-phrases and grounded tone were made all the more apparent in the second movement. The soloist played with silence; holding on just long enough to evoke crowd smiles from the cheeky suspense. The genuine performance was clearly appreciated.
Continuing with cello-favourites in the encore, Hornung dished up the first movement of Bach’s much loved ‘Cello Suite No.1 in G major’– dessert that could have been savoured in a slower tempo.
Wintercoats were shaken off for Schumann’s expansive Symphony No. 3, the ‘Rhenish.’ Made vivid by buttery sounds from the flute section and expansive calls from the french-horns, images of expansive terrain with rolling hills, not too dissimilar from Tasmania’s own, came alive. An extended pause before the final movement made sense when Buribayev’s full commitment to the thrilling ending had the concert finish on an exciting high, bringing much needed warmth to the cold Tasmanian city.
The Tasmanian Symphony Orchestra performed Haydn’s Cello Concerto at Federation Hall on Friday 26 June 2026.
