The Australian Romantic and Classical Orchestra is passionately committed to its education program. The orchestra offers a unique combination of courses and projects for school- and tertiary-level students, development opportunities for professional musicians and music teachers, and enlightening presentations in tandem with its concerts. The orchestra’s youth program – the Young Mannheim Symphonists – brings together students from all walks of life and introduces them to magnificent music from a fresh new perspective. At a tertiary and professional level, our musicians offer tuition, workshops, and public master classes whenever they are in town.
The Young Mannheim Symphonists program is designed to give school students the opportunity to discover for themselves the magic of approaching music with appropriate performance style. As they are led through great musical masterpieces, and exposed to the knowledge and perception of experienced professional musicians, they are inspired by how the music comes to life, and empowered to begin making informed musical decisions on their own.
We offer flexible courses of one to several days, and have a presence in many different types of schools throughout Melbourne and Sydney, with the intention of expanding into other major cities and towns of Australia.
We are always adding to our capacity to provide a fascinating and enlightening educational resource. We believe that the best way to deepen the appreciation, understanding and experience of Classical and Romantic repertoire in Australia is to share our knowledge and passion in a way which is inspiring and empowering, as well as challenging and completely relevant to contemporary music-making.
As true scholars of historical musical styles, we readily acknowledge that we will never know if we are getting it exactly “right”. There is no doubt in our minds that the use of period instruments and knowledge of style and composer expectations gives pre-20th-century music a level of expression not otherwise achievable. However, we have no way of knowing if the result is actually what people experienced all those years ago. In fact, that is one of the great things about historically informed performance – we don’t know for certain, and we therefore have many avenues of exploration and discovery on which to base our musical interpretations.