Beethoven’s Quintet - Omega Ensemble · Program Carl Nielsen Wind Quintet, Op. 43 Paul Hindemith Kleine Kammermusik for Wind Quintet, Op. 24, No. 2 Interval Jean Françaix Quartet

Beethoven’s Quintet

2:30pm | Sunday | 08 Oct 2017Utzon Room, Sydney Opera House

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Program

Carl Nielsen Wind Quintet, Op. 43

Paul Hindemith Kleine Kammermusik for Wind Quintet, Op. 24, No. 2

Interval

Jean Françaix Quartet for Winds

Ludwig van Beethoven Quintet in E-flat major for Piano and Winds, Op. 16

Approximate durations (minutes):

23 – 14 - Interval – 10 – 27

The concert will last approximately one hour and 35 minutes, including a 20-minute interval.

Sunday 8 October 2017 2:30pm Utzon Room, Sydney Opera House

Presented as part of the 2017 Master Series

Cover Image: Bruce Terry

Beethoven’s Quintet

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

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What’s On

2017 Season

2018 Season

The Clarinet - David RowdenStravinsky Three Pieces for Clarinet SoloBrahms Sonata for Clarinet and Piano, Op. 120, No. 2Messager Solo de ConcoursAnderson Miniatures [World Premiere]

Lunch Series12:30pm | Wed | 18 OctCity Recital Hall

cityrecitalhall.com02 8256 2222

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

The Cello - Teije HylkemaBach Cello Suite No. 2 in D minor, BWV 1008Beethoven Trio in B flat major, Op. 11, ‘Gassenhauer’Hogarth Trio for Clarinet, Piano and Cello [World Premiere]

Lunch Series 12:30pm | Wed | 15 Nov City Recital Hall

cityrecitalhall.com02 8256 2222

Eternal Quartets: Messiaen and SchubertBarber Adagio for Strings, Op.11Messiaen Quatuor pour la fin du temps (Quartet for the End of Time)Schubert String Quartet No. 14 in D minor, D.810 “Death and the Maiden”

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

cityrecitalhall.com02 8256 2222

Ravel ImpressionsMozart Trio in E flat major ‘Kegelstatt’, K. 498Fauré Piano Trio in D minor, Op. 120Arensky Piano Trio No. 1 in D minor, Op. 32Ravel String Quartet in F major

Virtuoso Series 7:30pm | Thu | 16 Nov City Recital Hall

cityrecitalhall.com02 8256 2222

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Carl Nielsen (1865–1931)

Wind Quintet Opus 43, Composed in 1922

I. Allegro ben moderatoII. MenuetIII. Prelude — Adagio — Theme & Variations —

Un poco andantino

In Nielsen’s biography, the author writes: ‘Nielsen’s fondness of wind instruments is closely related to his love of nature, his fascination for living, breathing things. He was also intensely interested in human character, and the Wind Quintet, composed deliberately for five friends, is cunningly made to suit the individuality of each player.’ Since its premiere in 1922 Nielsen’s Wind Quintet has remained one of the most popular and beloved pieces in the woodwind repertoire.

1922 was a pivotal year in Carl Nielsen’s life: he was diagnosed with a severe heart condition, he reconciled with his wife after close to seven years’ separation, he learned to drive, he conducted the premiere of his Fifth Symphony, and he completed a work for the Copenhagen Wind Quintet. The new woodwind quintet was an attempt “to present the characteristics of the various instruments,” and in the process of working with the performers he came to know them extremely well.

From this experience, he decided to write a concerto for each of the five players of the wind quintet in such a way that the music would be a kind of musical portrait. Although he only completed two of the projected five wind concerti, the flute

concerto (1926) and the clarinet concerto (1928) are character studies cunningly made to suit the individuality of the soloist.

Nielsen’s musical style is one filled with lushness of the Romantic era, encapsulating the same aesthetics of beauty, emotion, and the inner thoughts of the artist and above all the profound nature of his writing. Oxford University music professor Daniel Grimley qualifies Nielsen as “one of the most playful, life-affirming, and awkward voices in twentieth-century music” thanks to the “melodic richness and harmonic vitality” of his work. Anne-Marie Reynolds, author of Carl Nielsen’s Voice: His Songs in Context, cites Robert Simpson’s view that “all of his music is vocal in origin”, maintaining that song-writing strongly influenced Nielsen’s development as a composer.

Paul Hindemith (1895-1963)

Kleine Kammermusik for Wind Quintet, No.2 Opus 24, Composed in 1922

I. Lustig. Mäßig schnell ViertelII. Walzer: Durchweg sehr leiseIII. Ruhig und einfachIV. Schnelle ViertelV. Sehr lebhaft

In his series of works entitled Kammermusik (chamber music) - composed between 1922 and 1927, Paul Hindemith developed a new musical style that rejected the expressionist aesthetics that were

About the Music

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prevailing in the early years of the 20th century. His musical style, often described as ‘neoclassical’, was developed during this period in which he found his musical voice - subsequently departing from his early late-Romantic language. It is important to discuss Hindemith’s musical system here in order to best understand the harmonic and melodic palette found in this work.

One of the key features of his system is that he ranks all musical intervals of the 12-note equally tempered scale from the most consonant to the most dissonant. He classifies chords in six categories, on the basis of how dissonant they are, whether or not they contain a tritone, and whether or not they clearly suggest a root or tonal centre. Hindemith’s philosophy also encompassed melody - he strove for melodies that do not clearly outline major or minor triads.

Hindemith’s Kleine Kammermusik for Wind Quintet was composed in 1922 and was the second in his series of small chamber pieces. The first work, composed in the same year, features an accordion and a siren, and it would seem that he was keen on jolting his audience, if nothing else. With this experimental phase out of his system, Hindemith turned to a more pleasing aesthetic in his quintet for winds.

Orrin Howard writes that : “The dry, caustic timbre of the winds is matched perfectly to the lean, chic, and impersonal materials that speak clearly the Stravinskian neo-classic tongue, as translated into what was to become Hindemith’s characteristic

language. This is music that, while invoking the outdoor wind divertimentos of the 18th century, sneers at the late 19th century’s sonorous and emotional indulgence.” For audiences hearing this work for the first time it was, musically, a departure from everything they had known.

Jean Françaix (1912-1997)

Quartet for Winds Composed in 1933

I. AllegroII. AndanteIII. Allegro moltoIV. Allegro vivo

Ravel said to a young Françaix’s parents: “Among the child’s gifts I observe above all the most fruitful an artist can possess, that of curiosity: you must not stifle these precious gifts now or ever, or risk letting this young sensibility wither.” His parents took this advice and by the age of five Françaix was considered a child prodigy who was later sent to study with acclaimed composition teacher Nadia Boulanger.

Françaix’s style is marked by lightness and wit (a stated goal of his was to “give pleasure”), as well as a conversational style of interplay between the musical lines. It changed little throughout his career; while he was influenced by composers he admired (such as Emmanuel Chabrier, Igor Stravinsky, Maurice Ravel and Francis Poulenc), he integrated

Harmonic fluctuation is what Hindemith calls the differences in quality and tension that result from a sequence of chords.

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what he picked up into his own distinct aesthetic, which was already evident in his early works.

At the age of 21 Françaix composed his Quartet for Winds for staff at Le Mans Conservatoire, where his father was the Director. With the arrogance of the young he explained his choice of instrumentation as follows: “As the horn tutor who was there at the time was never quite sure what sound would emerge from his instrument – his fame was as a specialist in the art of playing several notes at the same time – I had decided not to ‘rouse the volcano,’ and wrote a quartet without horn which would be less likely to produce “disconcerting surprises.”

This was Françaix’s first chamber work for winds and it exhibits the joie de vivre that was to become one of the defining characteristics of his music. While musical customs evolved rapidly during the course of Françaix’s working life, the composer’s own style changed little: he rejected atonality, and remained wedded to neo-classical sensibilities in the pursuit of music as a source of pleasure. Though Françaix did not attempt to break new musical ground, the light-hearted wit that infused his works, together with his elegant phrasing and skillful orchestration earned him the respect of many of his peers, with his compositions becoming standard concert fare.

Françaix remained prolific throughout his life; even in 1981 he described himself as “constantly composing”, barely finishing one piece before beginning another, and continued thus until his death in 1997.

Ludwig van Beethoven (1770-1827)

Quintet in E-flat major for Piano and Winds Op. 16, Composed in 1796

I. Grave — Allegro ma non troppoII. Andante cantabileIII. Rondo. Allegro, ma non troppo

Long before Beethoven had even tried his hand at composing the string quartets, opera and the

symphonies that we know him by today, the young 27 year old pianist composed a Quintet for Piano and Winds - a rather unusual combination for its time. At the time of composing this early work Beethoven was only beginning to make his mark on the Viennese public as a composer.

The quintet was first performed at a benefit concert on 6 April 1797 given by Ignaz Schuppanzigh - one of the leading exponents of chamber music in Vienna - who quickly made a strong friendship with Beethoven and played an important role in introducing the young composer to Viennese audiences. An 1803, a review of Beethoven’s quintet described it as a “brilliant and serious work, full of deep expression and character, but sometimes too bold.”

There are some loose connections to be made in regards to Mozart’s quintet. The only common aspect they share is the unusual instrumental combination and the key of Eb major. While Mozart’s work of the same scoring is considered the ‘classic’ Beethoven is seen to be ‘classicising’ (i.e. a reproduction of classical forms), it is unlikely that Beethoven had access to Mozart’s score. However, it is likely that Beethoven may have heard it while on tour in Prague. The link between the two quintets may be in Beethoven’s work as an improviser and how he draws on small motifs found in Mozart’s works and develops these (again ‘classicising’ rather than using Mozart’s a direct model).

In the final movement, a lively rondo, Beethoven leaves room for a solo cadenza in the first half of the finale. It is reported that the composer (who played the piano part himself) would indulge in some extra improvisational activity, fooling the wind players, who – at first amused and then disgruntled – were waiting to come back in, giving the quintet a quasi-concerto feel, particularly in demonstrating the dazzling technical mastery of the pianist. Ferdinand Ries, Beethoven’s student, reported that the “whole society was enchanted” by Beethoven’s piano skills.

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Musicians

Sally Walker, Flute

Orchestras Berlin Philharmonic Orchestra, Deutsche Kammerakademie Neuss, Kölner Kammerorchester, City of Birmingham Orchestra, BBC National Orchestra of Wales, Kammerakademie Potsdam, NDR Radio Philharmonie Hannover, Darwin Symphony, Dortmund Philharmonic Orchestra, Orchestra Accademia I Filarmonici di Verona and the Klassische Philharmonie Bonn

Ensembles Australian Chamber Orchestra, Omega Ensemble, Das Neue Orchester Köln, Neues Bachisches Collegium Musicum and Leipziger Kammerorchester, Halcyon, Shanghai String Quartet

Selected Recordings Cyrus Meurant: Monday to Friday (Birdland Records), Sally Whitwell: Road Trip (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, Australian National Academy of Music

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, Associate of the Royal Academy of Music (ARAM)

Celia Craig, Oboe

Orchestras Adelaide Symphony Orchestra, BBC Symphony Orchestra, BBC National Orchestra of Wales, Bournemouth Symphony Orchestra, London Symphony, Royal Scottish National Orchestra, City of Birmingham Symphony, Royal Philharmonic, Sydney Symphony Orchestra, Melbourne Symphony Orchestra, New Zealand Symphony Orchestra, Christchurch Symphony Orchestra.

Ensembles Coull Quartet, TinAlley Quartet, London Chamber Players, Omega Ensemble

Premieres Elliot Carter: Pastorale, Olivier Messiaen: Concert a Quatre

Selected Recordings Michael Berkeley: Tristessa (Chandos)

Awards/Study BA Hons, LRAM, Associate of the Royal Academy of Music (ARAM)

Ben Hoadley, Bassoon

Orchestras Sydney Symphony Orchestra, Australian Opera and Ballet Orchestra, New Zealand Symphony Orchestra, Hong Kong Philharmonic, Trondheim Symphony Orchestra, Boston Symphony, Boston Pops Orchestras, Melbourne Symphony Orchestra, Queensland Symphony Orchestra, Tasmanian Symphony Orchestra, Australian Youth Orchestra.

Ensembles Auckland Chamber Orchestra, St Martin in the Fields, Hallé, Omega Ensemble, Australian Brandenburg Orchestra

Premieres Alex Taylor: Bassoon Concerto

Selected Recordings Omega Ensemble: Mozart—Munro—Palmer (ABC Classics), Southern Invention (Atol), Whitehead: Puhake Ki Te Rangi (Atol)

Michael Dixon, Bassoon

Orchestras Queensland Philharmonic Orchestra, Australian Opera & Ballet Orchestra, Sydney Symphony Orchestra, Canberra Symphony Orchestra.

Ensembles Australian Brandenburg Orchestra, LOCANA, Omega Ensemble

Selected Recordings Omega Ensemble: Mozart—Munro—Palmer (ABC Classics)

Awards MMus (Musicology), MPhil (Composition), DCA

Maria Raspopova, Piano

Ensembles Omega Ensemble, Australian National Academy of Music

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

Selected Recordings Omega Ensemble: Mozart—Munro—Palmer (ABC Classics)

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Meet the Musician

Michael Dixon, HornBorn in New Zealand, Michael began piano studies with his grandmother and horn with his father. Michael has held full-time positions with a number of Australian orchestras including Principal Horn

in the Queensland Philharmonic Orchestra. Michael now freelances and is a regular with the Australian Opera & Ballet Orchestra, the Sydney Symphony Orchestra and the Canberra Symphony Orchestra. He has performed with the Australian Brandenburg Orchestra and Ludovico’s Band on natural horn. Chamber music credits include his contemporary ensemble LOCANA, since 2003, and Omega Ensemble from 2013.

When and why did you first start playing the French horn ?

When I was 11, dad bought a French horn with the intention of practising it to get a better feel for teaching horn. When I opened the case to look at it I fell in love. There was no going back and dad never got to play it himself.

What do you enjoy most about playing chamber music?

I love the responsibility, the intimacy, the sheer necessity of being constantly musical. It’s a great joy to have such a vital role in the recreation of each piece of music. One’s perceptions must be alertly attuned to what every other musician is doing. The collaborative process is marvellous.

The French horn seems an ‘odd’ fit amongst its woodwind colleagues in works for wind quartet and quintet - how does the French horn blend with these instruments and what, in particular, makes it fit?

The horn has a malleable tone that can blend well, stand out when wanted. Part of the tonal charm comes from having the right hand in the bell. The hand along with the mouth can manipulate tone colour in wondrous ways.

One of the pieces on the program is Hindemith’s Kammermusik. What do you enjoy most about this piece?

There’s such vitality in the Hindemith. I’ve been playing it for more than 30 years now and still enjoy it. I like his little rhythmic devices and interval devices. He finds a catchy rhythm and melody and shifts things around in subtle ways. It all feels playful. The ostinato in the slow movement is gorgeous and the last movement is riveting.

Could you tells us about your own compositions and your use of microtonal music?

To me, microtones are the little pitch adjustments we make to make the music feel right, to sound in tune with other malleable instruments. As a composer, I prescribe these adjustments. I ask my fellow musicians to make them conscious and to play the ones I want at specific times. This allows fine tuning to have more clarity.

To read the full interview visit the blog section on our website.

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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.

For more information on making a contribution, visit omegaensemble.com.au/support

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

Mr Paul Blacket SC & Mrs Cristl Blacket

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

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Mr Cameron Williams

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

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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

Mr & Mrs Robin and Wendy Cumming

Mr & Mrs Charles and Anne Edmondson

Mr Andrew Fox-Smith

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Mr & Mrs Robert and Tessa Phillips

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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

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Mr & Mrs Owain & Judy Rowland-Jones

Mr William Staples

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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, bringing the passion and joy of chamber music to audiences near and far.

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 †

• = Appearing in this performance

† = Guest Artist

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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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