“Embrace the unexpected. Celebrate the extraordinary”. Add to this mantra the expectation of supreme string ensemble playing, refreshing repertoire and contemporary thinking, an Australian world premier, then add bucket loads of beauty and sensitivity, and this audience was totally captivated. Founded in 2005 this award-winning chamber ensemble has admirably collaborated with new Australian composers and leading orchestral artists, touring internationally and receiving national awards.
In the finest acoustic and ambient lighting of Elizabeth Murdoch Hall, tonight’s nine-piece string ensemble (4 violins, 2 violas, 2 celli, 1 double bass), there was complete stillness and silence from a dedicated and curious audience ready for the first delicately spaced fragments of the four-movement Nonetto II, by Finnish pianist, conductor and composer Ollie Mustonen (b. 1967). With characteristics of neo-classicism and minimalism, there was a cool, calm and at times eerie feeling as harpsichord-like string staccato sounds vanished into thin air, and poignant ensemble pulses intensified with long accompanying lines and melded textures fluctuating with changing dynamics. This first movement Inquieto was an emotive, clean and compelling beginning. It flowed smoothly into an Allegro impetuoso, the orchestration showing energetic Baroque influences, a dance character and challenges for soloists. In an elegant triple meter, an innocent and sweet rhythmic unit was passed sensitively through ensemble members, creating a warm and pleasant romantic atmosphere. Fine and balanced string playing created a circular and almost hypnotic effect, with a strong double bass pedal point creating an imitative pipe organ effect. Truly beautiful. The final Vivacissimo was quite splendid with tight, rhythmic run and dance and an aerobic energy propelled by an excess of string tremolos and virtuosic drive. The destination was reached with an abrupt short rhythmic cadence, bringing strong applause from the audience.
Already creating successful commissions for major Australian orchestras and chamber music ensembles, composer Harry Sdraulig (b. 1992) caused a bit of a buzz being present as we welcomed the world premier of his Triptych, a three-movement work commissioned by Omega Ensemble. These were very independent musical “tone-portraits”, beautifully constructed with rich harmonies and contemporary design, featuring the most soulful and impressive clarinettist David Rowdon, Omega Ensemble’s remarkable founder and artistic director.
“Sea Drift” opened with wavering mellow slow-motion trills, with clarinet leading warm and fluid lines with broadly spaced melodic themes. A string accompaniment added almost exotic Eastern flavours of rhythmic energy and dance, weaving clarinet motifs into a pictorial tapestry. “The Garden” established beautiful depths of soul, colour and feeling with broadly orchestrated, lush string chords and free lyrical clarinet ballad movement. In misty textures, no pulse was felt, just rich colours and perfect string ensemble, allowing the solo clarinet to shine. The third movement, “Mystic Dance”, brought a contrasting energy and playful character, with theatrical and scurrying strings adding joy to mischievously designed lines. Very well projected were long double bass notes making a powerful presence, and all paths led to an exuberant clarinet cadenza and triumphant closing flourish. Superb.
Sydney-born pianist Vatche Jambazian completed his Master of Music at the Juilliard School following studies at Sydney Conservatorium. Much more beauty was now to come with an intimate setting of Chopin’s Piano Concerto No 1 in E minor. The stage took on a new look with the grand piano being stripped of its lid, centre-stage with the keys “facing” the audience. While this gave the soloist central connection with the nine surrounding string players, it may have been an unusual experience for some seeing the back of the performer and not being able to “watch the pianist’s hands” nor feel the performer’s physical response during the music. Could we feel Chopin “the introvert”?
Essentially a composer of small forms, Chopin left us few large-scale orchestral works. This new setting provided an intimate salon experience and Omega did a splendid job in expressing Chopin’s most lyrical bel canto melodies with warm and romantic string harmony, principal violinist Peter Clark leading with elegant and passionate physical expression and communication.
Jambazian stamped his authority on the performance shaping phrases with personal honesty, realizing most warm and sensitive crystalline tones in melodic work. He drew us into a very elegant and poetic second movement Romanze: Larghetto with luminous light and ringing, shimmering right hand high patterns. His personal expressiveness and phrasing combined with a most fluent and relaxed technique. Following a very magical close to the Larghetto, the third movement Rondo: Vivace gave us vibrant, scintillating and shimmering fluency for Chopin’s kaleidoscopic colours in the piano’s upper registers in a most satisfying and soulful performance.
Lengthy applause brought Jambazian back to the stage where he announced that he would like to play a “very different piece to change the mood” – Arvo Pärt’s most tender, peaceful and introspective piece, “Für Alina”. The audience appreciated the connection with the full program: continued beauty in music where we could feel that time had stopped.
PHoto Credit: Laura Manariti
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Julie McErlain reviewed “Concertante”, presented by Omega Ensemble at the Melbourne Recital Centre, Elisabeth Murdoch Hall, on October 1, 2024.
