Reviews

Dr. Roberta E. Zlokower
www.robertaonthearts.com
New York, USA
August 21, 2007

This CD is a poignant selection of under-recorded works, all mesmerizing and inspirational. The combined cello-guitar concept includes generous solos with exceptional musicality and magical elements. Rarely have I heard so many of my long-time favorite works on one sitting, showcased with such nuance and texture. One would hope to hear this talented duo, live, in the US in the nearest future.
Notable Tracks:
#2 – Tanti Anni Prima - Composed by Astor Piazzolla. The guitar entrance invites the soulful cello in a sorrowful but loving melody. The theme repeats with delicious details, weaving the guitar embellishments.
#4 – Ave Maria - Composed by Giulio Caccini. Ms. O’Brien’s cello takes the introductory theme of this lesser-known Ave Maria. Mr. Koch’s versatile guitar plays a waterfall of notes to accompany Ms. O’Brien’s extended and elegant bow effects.
#11 - Gnossienne No. 1 - Composed by Erik Satie. This has been a long-time favorite, as are most of Satie’s works, often heard on piano or orchestrally. This combination of cello and guitar released the essence of the Gnossienne’s fluidity and surrealness. Its exotic undulating imagery evoked memories of an Egyptian Belly Dancer
#14 - Spiegel im Spiegel - Composed by Arvo Pärt. This hypnotic music serves as the ballet score of Christopher Wheeldon’s After the Rain, performed by NYC Ballet . Its raindrop ethereality is almost existential, and Ms. O’Brien and Mr. Koch captured the quiet uniqueness of this rare music.

ABC Limelight Magazine
August 2007

The inspired pairing of ARIA award-winning guitarist Gareth Koch (noted as soloist and with guitar quartet Saffire) and celebrated cellist Trish O'Brien (formerly of Sydney Symphony Orchestra fame) is a gift to music lovers everywhere. The breadth of their musical taste is represented by 16 tracks featuring well-known works from composers such as Satie, Debussy, Ravel and Lennon & McCartney. Luminesca avoids the bland sentimentality of a romantic seduction, instead focusing on the contrasting tonal quality of each instrument and exploring the often delicate phrasing of each piece. Koch and O'Brien give each other plenty of room to shine as accomplished soloists, but the highlight of this CD is the elegant and appealing quality apparent in their duo performance.
Jaslyn Hall

Guitarist musters charm
From: The Courier-Mail
June 14, 2007

SEDUCTION is the perfect title for this disc from the duo Luminesca comprising guitarist Gareth Koch and cellist Trish O'Brien. O'Brien and Koch have milked the classic repertoire for heartstring-tugging hits, from Erik Satie miniatures, Giulio Caccini's Ave Maria, a Debussy impression to Lennon/McCartney's Blackbird, among many morsels. If any artists can bring off such a glittering array it is these two musicians as they spin the emotional reaches of the cello around subtle guitar rhythms with beguiling ease. Their reading of Spiegel im Spiegel by Arvo Part is mesmerising and Koch finds his Spanish feet in the brief Romanesca of Alonso Mudarra and Manuel de Falla's reflective Nana. Here, as in Ravel's Habanera and Jewel Kitson's Amen the playing is just so seductive.

MUSIC-WEB INTERNATIONAL
CD REVIEW "SEDUCTION"
20 March 2007

Now here’s a CD you can treasure forever and play over and over again. And you don’t have to be a romantic or even a lover of the cello and guitar. Separately they are instruments of great individuality; together they spin a web of intrigue, rhythm, languor, mystique and, as the title of this CD pre-supposes, seduction. Trish O’Brien and Gareth Koch are both superb Australian musicians who enjoy making music together.

This collaboration is a triumph of creativity and talent. The CD has music from the Renaissance and Baroque periods (Kapsberger, Mudarra, Caccini), from the French impressionists (Satie, Debussy, Ravel) and from contemporary composers (Houghton, di Marino, Pärt, Kitson, Lennon, McCartney). Tchaikovsky, de Falla and Piazzolla are also represented.

The guitar is used mostly as a rhythm section playing arpeggios and chord progressions while the cello plays the melody line and, in some instances, just adds to the mood of the piece.

There are some choices that don’t quite work, however. For example Debussy’s Beau Soir would have been more effective if played on the violin – the cello’s deeper resonance spoils the lyricism of the piece, while the guitar is far too dominant in Kapsberger’s - part of the composition is attributed to O’Brien herself - Toccata Arpegiatta. Kitson’s Amen - sorry I couldn’t find her birth particulars although I know she’s a current pop singer/composer - is a weird combination of placidity and sudden inexplicable bursts of prestissimo. Too distracting.

But the rest comes up trumps. Arvo Pärt’s minimalism with its ebbs and flows is just the thing for setting the right mood and all eight minutes of it is conducive to relaxation amid the magic of the guitar almost playing solo but with the slightest hint of the cello in the background. Di Marino’s Milonga and Houghton’s Adoration has the cello at its emotive and soulful best.

Truly enjoyable and recommended to all and sundry. Light a few candles, turn off the TV, dim the lights, send the kids to bed and enjoy it with a glass of wine, single malt and/or someone you love.

Randolph Magri-Overend

REVIEW OF “LUMINESCA” at the Civic Theatre
Cairns Post 1 March 2007

An obviously thrilled audience was drawn into the stunning world that is Luminesca, last Thursday night at the Civic Theatre. This wasn't just listening to good music, well played. It was being drawn into the warmth and strong rapport that Trish O'Brien and Gareth Koch show onstage.

Trish and Gareth, the duo that is Luminesca, are artists in their own right, Trish playing with many orchestras and ensembles and Gareth a founding member of the guitar quartet Saffire. Together, as Australia's only full-time cello and guitar duo, they create a world of their own. A world which we are fortunately allowed to share.

The varied programme flowed smoothly from Tchaikovsky's 'Valse Sentimentale' to a modern Ourkouzounov piece. The latter was contemporary enough to be startling, coming after the well-known 'Millers Dance' from The Three Cornered Hat, yet it earned almost the highest applause of the night.

The darkly moving and meditative Spiegel im Spiegel of Arvo Part was akin to sinking into the softest lounge chair, a feeling encouraged by the stage lights dimming to one spot on the artists. This created such a feeling of intimacy that it seemed almost unkind to have the lights come up again.

To watch musicians is almost as fascinating as to listen to them. Gareth's fingers, as he plays his guitar (“play” being a mundane expression for such movement) look like fine fluttering birds. Meanwhile, to see how Trish draws such incredible sounds from her cello is almost as exciting as the music itself.

Thank goodness Luminesca has at last released their exquisite “Seduction” CD and thank goodness too, that the Civic Theatre knows there is an audience for work like this where the music is beautiful, the atmosphere intimate and the evening a delight.
By Beverly Blaauw