BY SAMUEL COTTELL
Omega Ensemble
‘Chamber to Charleston’
Works by Ravel, Mozart, Martinu, and Saint-Saens
City Recital Hall, 17 September
Along my own musical travels, I once heard a discussion between a composer and a harp player. The composer said: ‘Can you tell me how to write for the harp?’. The harp player said: ‘Just write like Ravel’.
When I hear great musicians perform Ravel’s harp writing, I can see why this statement rings true. One of Ravel’s masterpieces for harp, the ‘Introduction and Allegro’, was performed with excellence by the Omega Ensemble for the opening of this concert – and the story behind the famous work is one of rivalry between two harp companies (The Pleyel and Erard manufacturers).
The Pleyel company had recently manufactured a chromatic harp and so commissioned Debussy to write a piece for harp and orchestra. In response, the Erard company wanted to counteract this and demonstrate the abilities of their double action pedal harp and commissioned Ravel to write a piece. He wrote the piece very quickly and handed it in before he embarked on a boating trip with his friends (as all good French composers do).
As the evening opened with ‘Introduction and Allegro’, the ensemble was in fine form and the opening flute and clarinet melody was beautifully performed by Lisa Osmialowski and David Rowden. Jane Rosenson’s harp entry was somewhat rushed and the notes were often overly accented and forced which detracted from the detail of sound that is effective in Ravel. The melody notes were buried in the heavy accompaniment figures, which took away from the lyrical melodic line in the upper register. In the extended harp solo, her spacing was more effective which highlighted the subtle shading, further demonstrating the harps musical capabilities. The strings showed off their ability to their own harp-like tendencies with clear cut and exciting arpeggios and shimmers of colour. Overall, a very fine performance of the ‘Introduction and Allegro’.
While the stage was being set for Mozart’s Clarinet Quintet, David Rowden appeared on stage to give a little talk about the basset clarinet that he was using for this performance. He explained the added depth and range of the basset and played a few examples from the Mozart clarinet concerto. These talks are always interesting and very welcome, and there needs to be more of them in recitals.
Once the stage was set, the ensemble adoringly performed a carefully considered and detailed recital of the Mozart. There were moments of the truly sublime, particularly in the third movement. David Rowden’s basset clarinet note blended with the ensemble and formed the creamy epicentre of the musical line. The string playing was understated and delightful, which added another dimension to the heavenly Mozart. Rebecca Chan coaxed each note from her violin with a deep care and consideration, and the communication between the string players gave a heightened sense of emotion to the music. What was great about this performance was the sense of democracy , and given this week in politics its refreshing to see some true democracy in the form of music.
Czech composer Bohuslav Martinů moved from his home town to Paris in 1923. While in Paris, he deliberately withdrew from the Romantic style in which he had been trained and the first few years in this new country were a real eye opener for him. Paris, at this time, contained a wealth of music for composers to absorbed. Everything from the avant-garde to jazz was present in the city. It was here that Martinu was able to hear this music and incorporate it into his composing. The Omega Ensemble soon found themselves functioning as a jazz ensemble in Martinu’s La Revue de Cuisine. Tonight, the jazz harmonies and the colouristic devices portrayed by each instrument converged to form a hypnotic whirlwind punctuated by brisk trumpet interjections set the tone of the first movement.
Pianist Maria Raspopova, who stood in as a replacement last minute, demonstrated confidence and zest in her piano part. Raspopova’s jazz manner was engaging and her rhythmic approach to this was concise. There was immense shading from the piano part, Raspopova’s bass notes were booming and the upper register of the piano sparkled with a shimmering clarity. What we have seen here is a classical pianist who could probably play anything. This was an enthusiastic rendering of the work, particularly when the piece reached its Charleston moment and a huge grin appeared on cellist Paul Stender’s face. Following this, the whole ensemble began to bob on their seats, almost as if they were about to launch out of them and start dancing.
The final piece on offer was Saint-Saens’ Septet (for trumpet, piano and strings). Here, Raspopova shone like gold. Her arpeggios flourished from the lower register of the piano to the upper and created an edge of excitement. Owen Morris’ trumpet playing was perfectly mellow and subdued, which was very effective in this piece. Rebecca Chan, on violin, engaged with every single note with care and detailed consideration which elevated the ensemble to moments of sheer delight. This was a considered and contrasting evening of good music and the Omega Ensemble continue to prove their worth, time and time again, as the forerunners of exquisite chamber in Sydney. Musical democracy at its best – the Omega Ensemble delivers again.
Image supplied.
