Ravel Impressions

7:30pm | Thursday | 16 November 2017City Recital Hall

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Program

Anton Arensky Piano Trio No. 1 in D minor, Op. 32

Wolfgang Amadeus Mozart Trio in E flat major ‘Kegelstatt’, K. 498

Interval

Gabriel Fauré Piano Trio in D minor, Op. 120

Maurice Ravel String Quartet in F major

The concert will last approximately two hours and 3 minutes, including a 20 minute interval.

Approximate work durations (minutes):

31 – 22 - Interval – 20 – 30

Thursday 16 November 2017 7:30pm City Recital Hall

Presented as part of the 2017 Virtuoso Series

Cover Image: Bruce Terry

Ravel Impressions

Omega Ensemble reserves the right to alter scheduled artists and programs as necessary.

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What’s On

Summer Winds: From Beethoven to RavelDebussy “Syrinx”, for Solo FluteTaffanel Wind Quintet in G minorBeethoven Duo for Bassoon and ClarinetRavel Le Tombeau de CouperinArnold Three Shanties for Wind Quintet

Master Series2:30pm | Sun | 25 Feb Utzon Room, Sydney Opera House

sydneyoperahouse.com02 9250 7777

Eternal Quartets: Messiaen and SchubertBarber Adagio for StringsMessiaen Quatuor pour la fin du temps (Quartet for the End of Time)Schubert String Quartet No. 14, “Death and the Maiden”

Virtuoso Series 7:30pm | Wed | 11 Apr City Recital Hall

cityrecitalhall.com02 8256 2222

Fairy Tales: Schumann, Bruch and BorodinSchumann Märchenerzählungen (Fairy Tales) for Clarinet, Viola and PianoHogarth Trio [Australian Premiere]Bruch Eight Pieces for Clarinet, Viola and PianoBorodin String Quartet No. 2 in D major

Master Series 2:30PM | Sun | 17 Jun Utzon Room, Sydney Opera House

sydneyoperahouse.com02 9250 7777

Love: Weber and FranckElgar Romance for Bassoon and StringsWeber Quintet for Clarinet and StringsBrophy We Two Boys Together ClingingFranck Sonata for Violin and Piano

Virtuoso Series 7:30PM | Wed | 18 Jul City Recital Hall

cityrecitalhall.com02 8256 2222

Joy: Farrenc and BeethovenSchubert Notturno in E flat majorBeethoven Violin Sonata No.5 in F majorFarrenc Nonet in E flat MajorKats-Chernin Russian Rag (Nonet arrangement)

Virtuoso Series 7:30PM | Tue | 25 Sep City Recital Hall

cityrecitalhall.com02 8256 2222

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Anton Arensky (1861-1906)

Piano Trio No. 1 in D Minor Op. 32, composed in 1894

I. Allegro Moderato II. Scherzo: Allegro molto - Meno Mosso -

Allegro molto III. Elagia: Adagio IV. Finale: Allegro non troppo

Anton Arensky was an unusual character in the history of Russian music. There are those who adored him and those who loathed him. Tchaikovsky referred to him as a ‘nervous man’ who had no romantic attachments. Arensky was a teacher at the St. Petersburg Conservatory and his students included Rachmaninoff, Medtner, and Scriabin (although Scriabin didn’t really get along with him and once told Arensky that he was a ‘bore’). However, Scriabin must have held a deep respect for Arensky as he later included works by him in his own teaching.

When Arensky composed his Piano Trio in D minor there were two schools of thought regarding Russian music. These were the Moscow School (that aligned itself with European sensibilities on music, with composers such as Tchaikovsky) and the St.Petersburg School who aligned their musical values with distinct Russian flavours (which included the Mighty Five composers: Borodin, Balakirev, Mussorgsky, Cui and Rimsky-Korsakov). Arensky was more aligned to the Moscow School and was close friends with Tchaikovsky and his musical style borrows elements from Chopin and Tchaikovsky.

This work, composed in 1894 is dedicated to the

cellist Karl Davidov, who was the director of St. Petersburg Conservatory when Arensky was a student. Davidoff is regarded as the founder of the Russian school of cello playing, and the cello plays a prominent role in the trio often stating the principal thematic material. The Elegy is at the heart of this trio. With muted cello set against simple piano chords, there is a feeling of grief, yet at the same time the music has a dream-like quality. This dream-like quality is also alluded to at the end of the first and second movements. Scholar, David Denton, suggests that the theme in the first movement represents the ‘outgoing Davidov’, while the second movement is a recollection of memories about the cellist.

Wolfgang Amadeus Mozart (1756-1791)

Trio for clarinet, viola and piano in E flat major “Kegelstatt” K. 498, composed in 1786

I. AndanteII. Menuetto III. Rondo: Allegretto

Mozart completed his Piano Trio in E flat major on 5 August 1786. Kegels is a German game, translated as “skittles” and probably most like a game of bowls. There seems to be some confusion as to why this trio was given the nickname when there was no mention of this on Mozart’s own score. He did, however, compose 12 Duos for French Horns, K. 487, in July of 1786 while bowling, which he indicated on the cover of his score. It seems that the nickname was later added by a publisher out of confusion

About the Music

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or a marketing tactic. Whatever the reason, the nickname has given this trio increased popularity.

The trio was composed for friends and first performed by friends, the family of flautist Nikolaus Joseph von Jaquin. Jacquin had parties every week where they would play games, make music and have discussions. The premiere of the work was performed at one of these many Wednesday afternoon chamber music performances. Mozart playing the viola, Jaquin’s daughter Franziska (who was also one of Mozart’s piano students), an excellent pianist and Anton Stadler on clarinet, for whom Mozart wrote many clarinet works. By composing works that included the viola, Mozart was also giving himself the chance to perform in these concerts.

As a whole, the work is one of individual writing for each of the instruments. No part is subservient here and all three are highlighted in equal measure, in the virtuosic writing assigned to them as well as how they each introduce individual themes throughout the work. The trio is possibly also the first work to incorporate the combination of clarinet, viola, and trio, making it a rather unique contribution in Mozart’s output.

Gabriel Fauré (1845-1924)

Piano Trio in D Minor Op. 120, composed 1922-3

I. Allegro II. Andantino III. Allegro vivo

On October 1 in 1920 Gabriel Fauré retired from his post as the Director of the Paris Conservatoire. It was, perhaps, not a choice he made lightly, however by that stage he was completely deaf. With some gentle prodding by his friends and colleagues and being awarded the Légion d’honneur, Fauré moved on.

Seemingly, Faure’s retirement had freed him up

and he was able to compose even though he was feeling the signs of old age. On January 2 in 1922 he wrote to his dear friend Ferdinand: “I feel dreadfully the onset of old age and I regret not finding my freedom sooner...I’ve done good work even so. I’ve finished a 13th nocturne.” By March of the same year his opinion on this matter soon changed and he wrote to his wife stating: “I’m doing absolutely nothing and haven’t thought of two notes worth writing down since I’ve been here. Have I come to the end of my resources?”

In that same year Fauré’s publisher, Durand, suggest that he compose a piano trio. This idea had clearly sparked some fire in his imagination and by April 1922 he had begun work on the piece, writing to his wife: “I’ve started a trio for clarinet (or violin), cello, and piano.” He wrote again on September 26, 1922, “The trouble is that I can’t work for long at a time. My worst tribulation is perpetual fatigue.” Returning to Paris for the winter, he completed the Trio in mid-February 1923.

In his final two works – this trio and his only string quartet, Op.121, Fauré expressed a complete freedom of expression and lyricism, leaving a deeply personal statement. The premiere was given at a concert of the Société Nationale de Musique on May 12, 1923.

Tonight’s performance of this Trio is scored for clarinet, cello and piano and perhaps more closely reflects the composer’s original intentions for the work.

Maurice Ravel (1875-1935)

String Quartet in F Major Composed in 1903

I. Allegro Moderato: très douxII. Assez vif, très rythmé III. Très lentIV. Vif et agité

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Ravel completed his only string quartet in 1903 while he was still a student of Gabriel Fauré at the Paris Conservatoire. Ravel wanted this piece to win the Premier de Prix (prize for composition) but it did not win the judges over, nor did it win the appraisal of his teacher. Annoyed at this outcome, Ravel left the conservatoire and at the same time won the admiration of the Parisian public. Ravel himself admitted that the quartet may contain some technical problems, but he was confident that when played by high-calibre performers, that these issues could be overcome.

In 1927, Ravel oversaw the recording of his string quartet with the International String Quartet. The recording took place at Aeolian Studios in London and during the recording process Ravel sat by, puffing cigarettes, and gave commentary on how the piece should sound. He stipulated that it should be more ‘classical’ in sound than was indicated in the notation and suggested that the players needed to hold back and show more restraint, stressing precision in

the tempos, melodic shape and the harmonic language.

In much of Ravel’s writing he was always looking to the past and his music echoes many sentiments of the classical period. Despite this looking back to a place that could not be returned to, he still kept one foot in the future. In this, his only string quartet, Ravel was influenced by his teacher Fauré, and the string quartet of Debussy (which was composed nine years earlier). Whereas Debussy was pushing structural developments, Ravel made his own mark with his individualised use of harmonies, while retaining traditional formal structures.

Throughout, Ravel employs a variety of musical techniques that create distinct colours within the string quartet. There is the bubbling pizzicato (plucked) strings in the second (and most famous) movement of the work. The first performance was given in Paris by the Heymann Quartet on March 5, 1904.

Gabriel Faure and Jean Roger-Ducasse at the piano, accompanied, behind them, by Louis Aubert, A.Z. Mathot, Maurice Ravel, Andre Caplet, Charles Koechlin, Emile Vuillermoz and Jean Hure, from left to right. (Photo by Albert Harlingue/Roger Viollet/Getty Images)

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Why I play chamber music

Maria Raspopova, pianoMaria began learning the piano at a young age in her home country of Russia. At seventeen she moved to Australia with her family and soon commenced studies at Sydney Conservatorium of Music. Maria has performed recitals in Melbourne, Brisbane and Sydney and during the past few years she has recorded and premiered new Australian works and performed at both the Art Gallery of New South Wales and in the Government House Music series. Recently, she recorded Beethoven’s Quintet for Piano and Winds Op.16 for ABC Digital release, and recently gave the world premiere of Andrew Anderson’s Miniatures at City Recital Hall. Maria is Omega’s resident pianist and Co-Artistic Director.

I play chamber music because it challenges me and expands my thinking about music and about myself as a performer. When I practice my part I certainly approach it with my own interpretation, however, I also have to leave space for how other musicians might interpret the score. This gives the learning process a twist.

I love observing and participating in the dynamics with other performers. Through chamber music I see the best in human nature and behaviour. It’s true that not every situation is beautiful, but I also feel that one of the the most gracious, kind, understanding and supportive environments I experience is during rehearsal and performance. This is where the ‘magic’ in a performance is created. When I see a fellow musician work hard, I find it very inspiring.

Chamber music starts with the name, continues with the repertoire and ends with the challenge of bringing it to life. When one person plays, one person speaks. When four people play, four people speak. Sometimes they speak in harmony, at other times they disagree passionately. They challenge each other, inspire each other. They support, tease, gang up on each other, laugh and have loads of fun together.

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Omega Ensemble

Founded in 2005, Omega Ensemble is one of Australia’s finest chamber groups. With a dedication to presenting the finest Australian musicians, as well as engaging international guest artists, Omega presents outstanding musicians in an intimate and stimulating chamber setting. Its mission is to showcase outstanding artists who captivate and excite audiences through a revelatory program of chamber music.

Ranging from large chamber orchestras to duos, trios and quartets Omega performs a diverse range of repertoire; whether it is an iconic gem, a neglected beauty or a world premiere. The passion and commitment to the highest level of craft is still deployed.

To date, Omega has commissioned and performed over twenty new works from notable Australian and International composers, including Daniel Rojas, Mark Isaacs, Cyrus Meurant, George Palmer, Elena Kats-Chernin, Anne Boyd, Matthew Hindson, Christopher Gordon, John Peterson, Margery Smith, Stuart Greenbaum, Paul Stanhope, Ben Hoadley and Andrew Ford.

As well as performing premiere works, Omega also endeavours to uncover works that have been lost to time. Omega’s ability to find these pieces and bring them to life spells out a deep love and passion not only for well-known chamber music, but also for exploring gems that delight, entertain and enrich their audiences.

In addition to concert performances, Omega also maintains a growing digital concert hall in which audiences can relive the magic of a live performance. Beyond these videos, Omega Ensemble’s performances are now included as part of Qantas’s inflight entertainment.

In additional to performances in Sydney the Ensemble regularly tours to country towns including Newcastle, Orange and Bathurst. More recently the Ensemble has just returned from its first international tour to China performing and giving masterclasses at the Beijing Central Conservatory, Chang Chun’s JiLin College of Arts and Dalian University.

The Ensemble

Alexandra Osborne, violin Veronique Serret, violin Catalin Ungureanu, violin Airena Nakamura, violin Neil Thompson, viola David Wicks, viola Paul Stender, cello Howard Penny, cello † Alex Henery, double bass Sally Walker, flute David Rowden, clarinet Lloyd Van’t Hoff, clarinet † Celia Craig, oboe Josh Oates, oboe Ben Hoadley, bassoon Michael Dixon, horn Maria Raspopova, piano Samuel Hogarth, piano Lee Abrahmsen, soprano †

† = Guest Artist

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Musicians

Catalin Ungureanu, Violin

Orchestras Moldova Philharmonic Orchestra, Australian Opera and Ballet Orchestra (Principal First Violin)

Ensembles La Camerata Chamber Orchestra

Selected Recordings Omega Ensemble: Munro-Mozart-Palmer (ABC classics)

Awards/Study George Enescu Conservatory, Romania, Golden Lyra Award

Airena Nakamura, Violin

Orchestras Sydney Symphony Orchestra, Tasmanian Symphony Orchestra, Australian Opera and Ballet Orchestra (Principal Second Violin)

Ensembles Australian Chamber Orchestra, Omega Ensemble, Caro String Quartet

Selected Recordings Omega Ensemble: Munro-Mozart-Palmer (ABC classics)

Awards/Study BMus (Honours)

Neil Thompson, Viola

Orchestras Opera Australia Orchestra, Sydney Symphony Orchestra, Melbourne Symphony Orchestra, Adelaide Symphony Orchestra

Ensembles The Nano Symphony, Caro String Quartet, Australian Chamber Orchestra, Skyline String Quartet, Omega Ensemble

Premieres Anthony Pateras, ‘Crystalline’ String Quartet

Selected Recordings Omega Ensemble: Munro-Mozart-Palmer (ABC classics), Hive (Kammerklang)

Awards/Study BMus (Honours), Elder Conservatorium, Adelaide, ANAM (Full Scholarship), ACO emerging artist, SSO fellowship

Masterclasses Beijing Central Conservatory, JiLin College of Arts, Dalian University

Paul Stender, Cello

Orchestras Sydney Symphony Orchestra. Australian Opera and Ballet Orchestra

Ensembles Australian Chamber Orchestra, ACO Collective

Selected Recordings Omega Ensemble: Munro-Mozart-Palmer (ABC classics)

David Rowden, Clarinet

Orchestras Sydney Symphony Orchestra, Australian Opera and Ballet Orchestra, The Queensland Orchestra, New Zealand Symphony Orchestra, Seoul Philharmonic Orchestra, Adelaide Symphony Orchestra

Ensembles Omega Ensemble, Australia Ensemble, Sydney Soloists

Premieres George Palmer: Clarinet Concerto, Ian Munro: Clarinet Quintet

Selected Recordings Omega Ensemble: Mozart—Munro—Palmer (ABC Classics), Play School 50th Anniversary Special (ABC3).

Awards/Study BMus (London), LRAM, Associate of the Royal Academy of Music (ARAM)

Masterclasses Beijing Central Conservatory, JiLin College of Arts, Dalian University

Maria Raspopova, Piano

Ensembles Omega Ensemble, Regional tour with Paul Meyer, Recital in AGNSW, Government House performance with Emma Matthews

Premieres Mark Grandison: Riffraction; Andrew Ford: Contradance; Mark Issacs: Chamber Symphony

Awards/Study BMus (Arts, UNSW)

Masterclasses Beijing Central Conservatory, JiLin College of Arts, Dalian University

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Supporters

Like many arts organisations, box office revenue and government grants make only a partial contribution to the costs involved in bringing our music to an audience. Omega’s future and growth is therefore guaranteed only by the generous supporters who together make a significant contribution to the Ensemble.

We invite you to join this core group of diverse and passionate individuals who share a uniting passion for uncovering great music through captivating chamber performance. As a supporter you will be acknowledged throughout our concert season in our concert programs, on our website and through exclusive events and benefits.

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Patron

Simone Young am

AmbassadorGerard Willems am

Chairman’s CouncilMr Robert Titterton (Chairman)

Ms Karen O’Flynn

Dr Neville Rowden

Mr Shane Simpson AM

Mrs Mary Anne Terry

Artistic Directors’ CircleMrs Kyril Agnew

Mr Mark Wakely & Mr Steven Alward

Mr Michael Crouch AC

Mrs Kerry Jones

The Hon. Jane Mathews AO

Dr Jane Rowden

Mrs W.G.Keighley – In memory of Keighley Quist

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Principal Chair Sponsors

ViolinMs Amanda Armstrong

ViolaMrs W.G.Keighley – In memory of Keighley Quist

The Hon. George Palmer AM QC

Drs Jane & Neville Rowden

CelloMr & Mrs Richard and Alison Morgan

Ms Sandra Hutcheson

Dr Anthony White AM and Mrs Doffy White

The Hon. Mary Finn

FluteMr Geoffrey White OAM & Mrs Sally White

BassoonDrs Jane & Neville Rowden

ClarinetMr & Mrs Chris and Ingrid Latham

Mr & Mrs David and Virginia Creer

Drs Jane & Neville Rowden

PianoDrs Jane & Neville Rowden

Ms Janne Ryan

Annual Giving Program

Brillante $25,000 +The Michael Crouch Foundation

Maestoso $10,000 +Mrs W.G.Keighley – In memory of Keighley Quist

The Hon. Jane Mathews AO

Anonymous (1)

Maestri $5000 +Mrs Kyril Agnew

Mr Mark Wakely & Mr Steven Alward

Mr & Mrs Bruce and Mary Anne Terry

Mr Bernard Coles QC

Virtuosi $1000+Mr Andrew Andersons AO

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Mr Bernard Coles SC

Mr & Mrs David and Virginia Creer

Mr David Emanuel

Mr Stuart Glenn

Mr & Mrs Chris and Ingrid Latham

Mr & Mrs John & Jo-Ann Negrine

Ms Karen O’Flynn

The Hon. George Palmer AM QC

In Memory of Katherine Robertson

Ms Petrina Slaytor

Professor John Snowdon AM and Mrs Libby Snowdon

Professor Gillian Straker & Ms Nellie Robertson

Dr Jenepher Thomas

Mr Peter Weiss AO

Mr Geoffrey White OAM

Dr Anthony White AM and Mrs Doffy White

Dr Nicholas Wilcken & Ms Susan Want

Mr Cameron Williams

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Encore $500 +Emeritus Professor Christine Alexander and the late Professor Peter Alexander

Mr & Mrs Ian and Adrienne Bailey

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Mr John Sydney Smith and Ms Nola Charles

Mr & Mrs Alan and Phillippa Clark

Professor Zoltán H Endre

Mr Shane Simpson AM

Mr Philip Stern

Mr & Mrs Tom and Dalia Stanley

Dr Geoff & Mrs Renee Symonds

Emeritus Professor David Wilcken and Professor Bridget Wilcken AM

Anonymous (1)

Da Capo $250+Ms Anita Austin

Mr & Mrs Gary and Joanna Barnes

Mrs Catherine Corver

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Mr Andrew Fox-Smith

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Mr & Mrs Robert and Tessa Phillips

Mr & Mrs Terrance & Shirley Plowright

Ms Irene Poinkin

Ms Lynette Reynolds

Mr Greg Robertson

Lady Heather Rossiter

Mr & Mrs Max and Josette Staples

Mrs Lindsay Wanstall

Anonymous (3)

DonorsMs Jan Bowen AM

Rev Fr Arthur Bridge AM

Ms Pauline Byrne

Mr Anthony Darcy

Ms Sandra Hutcheson

Mr Michael Gleeson-White

Ms Merilyn Marel

Ms Jenny Quist

Mr & Mrs Owain & Judy Rowland-Jones

Mr William Staples

Anonymous (1)

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Presenting Partner Media Partners

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Details published in this publication, including dates, prices, artist and venue information are correct at the time of publishing. Omega Ensemble reserves the right to vary, substitute or withdraw advertised programs, artists and venues. For up to date performance and artist details, please visit omegaensemble.com.au. The publisher does not take responsibility for any changes to fees, booking details or other changes made by ticketing agents or performance venues after the time of publication.

Our Vision

To enrich life through a deeper understanding of music.

Omega Ensemble

34 Centennial Avenue Randwick NSW 2031

Omega Ensemble ACN 40 120 304 725 is listed on the Australian Government’s Register of Cultural Organisations maintained under Subdivision 30-B of Part 2-1 of the Income Tax Assessment Act 1997 (Cth).

Acknowledgments

Artistic Directors

David Rowden Maria Raspopova

Board

Robert Titterton, Chairman Bruce Terry, Treasurer David Rowden Stuart Glenn

Managememt

Marketing Manager David Boyce

Administrator Stephen Bydder

Content Manager Samuel Cottell

Program Design: Viqtor Studio, viqtor.com.au

Acknowledgment of Country

Omega Ensemble acknowledges the Gadigal people of the Eora Nation, the traditional custodians of the land on which we perform. We pay respect to the Elders both past and present, and extend that respect to other Aboriginal and Torres Strait Islander Australians.

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