News

When George Met Arnold – Roger Benedict’s and Simon Tedeschi’s new cross-artform project, received its premiere to a capacity audience at the Sydney Opera House on May 15 2024. The Sydney Symphony Orchestra performed under Roger’s direction, with Simon as soloist.

 Telling the story of the remarkable friendship between George Gershwin and Arnold Schoenberg through film and music, the concert project breaks new ground in orchestral programming and proved to be a big hit with the public. Further performances are planned worldwide. 

 “Both thought-provoking and entertaining, Benedict and Tedeschi’s celebration of ‘a friendship forged in music’ hit the mark with the packed-out audience”  (Limelight Magazine)

NEW ALBUM

Roger and Simon Tedeschi's new album, has now been released! It features music for viola and piano by Debussy and Ravel - including Roger's arrangement of Debussy's four preludes and cello sonata and Ravel's Sonate Posthume. Go to the store page to download/stream/purchase a copy http://rogerbenedict.com/store/

Review in Stringendo magazine April 2023

"This is a first and superb recording of new transcriptions of major works by Ravel and Debussy by Roger Benedict. 

How delightful and surprising to hear Debussy Préludes for piano arranged by Roger Benedict for viola and piano. It is fascinating to follow the skilled creative voicing of the harmonic and melodic lines with two instrumental voices; the arrangements sound as if they have always been written exactly for this voicing. Roger Benedict consistently demonstrates his powerful skills as an experienced arranger as well as a superb musician. 

This is one of the finest viola recordings I have heard in recent times. The quality of arrangements and artistry combined with essential attention to balance between instruments honours the creativity of Ravel and Debussy".

Review in the Strad magazine February 2023:

“French masterpieces glow in sensitive arrangements"

"The programme opens with a selection of Debussy’s piano Préludes. Benedict’s arrangements are here at their most interventionist, and very successful they are, too. The viola parts emerge naturally from the piano texture, Benedict unerringly finding the most adequate register for them. Both players relish the sultry Hispanic rhythms so dear to both composers in readings that underline beauty of tone… Benedict’s well-focused tone ideally balanced with Tedeschi’s piano…”