The Omega Ensemble’s recent concert – Re: Classical – focussed on works by Richter, Kats-Chernin and Montgomery: German-British, Russian-Australian, and American. All works were connected by a particular emphasis on rhythm and repetition – broadening the obsessiveness of minimalist inspiration across multiple movements. Some of these works responded deeply to Baroque musical models. The ensemble was significantly expanded for these relatively large-scale musical offerings.
Véronique Serret (violin and first soloist) and Michael Rowden (clarinet and supplementary wind soloist) duetted in freewheeling style across the baroque like continuo that the American composer Jessie Montgomery settled for in her new work – Concerto Grosso - which the Omega Ensemble had co-commissioned. This was an arresting and intriguing piece.
With its improvisatory structure built on a solid orchestral bed – the solo instruments were not so much pitted against each other and the orchestra but, swirled above and sought connection and contrast: “the blend or add new textures” inspiration that the composer said she sought. This was invigorating music that built its progression on crisp sweetness and sassy urgency. Its crunchy textures and rhythmic urgency were highly satisfying. Peter Clark led the ensemble with low-key but deft authority.
The audience was very fulsome – no doubt for the evening’s major offering: Richter’s Recomposed. Veronique Serret was a towering presence within the swirling ambience of Max Richter’s deconstruction of Vivaldi’s Le quattro Stagioni. Richter builds his inspiration on the four concertos that the Red Priest of Venice bequeathed the world. Serret’s extraordinary energy and technique guided us through this mind-altering music. The vividness of her articulation and versatile dynamics, and her collaborative musicianship, ensured this work, which is demanding of both players and audience, was bedded down with exemplary skill and commitment.
The use of fragments from such a well-known piece of baroque music – itself rediscovered in the 1940s and ubiquitously recorded from then onwards – was given sharp relief in the micro processing that Richter engenders. The repetition of musical snatches - stretched in time and then riffed with excessive, acquisitive impulses – was mesmerising. The second last movement of the work (Winter 2) was astonishing in instantiating a world of glass harmonics – as though the cold icicles had invaded our brains and the musicians’ instruments.
The elegant and inspirational orchestration was given great energy and clarity by all the musicians. The use of harpsichord, harp and synthesiser were particularly noteworthy. Both hypnotic and thrilling – this work summons a minimalist dreamscape of endless looping and restoration. It crystallises new material and gives us a hybrid sound world full of piquant frissons – articulating a fascinating dialogue between two master works. As Shakespeare might say: “mine own and not mine own”.
The middle work (Ornamental Air)– a reimagining by Kats-Chernin of her 2007 concerto for bass clarinet and orchestra as a chamber work for clarinet – was the least arresting work of the evening.
The arabesques of the clarinet were suitably dogged. The orchestral sound is busy but ultimately enervating. At times it felt as though the composer was spinning notes – ambling her way across the three movements. There was not enough arresting thematic material or orchestration to guide our engagement. The buoyant orchestral filigree sometimes suggested the soundtrack to a film – in this case maybe a French film. If the aim was for a “rhythmic and dance like movement” this was for genteel footwork. Apart from the occasional Gershwinesque jazzy flourish – the clockwork nature of the invention was episodic and constrained.
The slow movement began well, with a contemplative solo, implying “deep and soulful qualities with long sweeping lines”, but the actual material was not deeply arresting, Its partial slide into darker realms and a faint wistful melody did generate interest, but with its clear and lightweight accompaniment, this promise was not bedded down.
The final movement began well with the motorific energy which this composer can always summon. But once the energy was established it didn’t coalesce around any development – or contrast. Unlike the Richter and Montgomery pieces, the musical pulse and its repetitions seemed to lack energy. The cadenza in this movement was sometimes intriguing – as though beginning some contemplative ideas – while the chugging climax was exuberant and suitable for garnering applause. This was the best movement of this strangely diffident work.
The performance was exemplary but the music, while being pleasant, was rarely arresting. When one thinks of the glorious crankiness and conflict that Carl Nielsen gives to his Clarinet Concerto – the dark quirkiness and febrile mystery that Thea Musgrave can summon, or the true jazziness that Copland could unearth for this combination, the element of inspiration was operating on a very low pulse. The chamber arrangement did, however, add some piquancy to the original score – cutting across some of that incarnation’s over lush ambience.
Omega Ensemble – City Recital Hall, Sydney – April 12, 2024
Gar Jones
Véronique Serret (violin and first soloist) and Michael Rowden (clarinet and supplementary wind soloist) duetted in freewheeling style across the baroque like continuo that the American composer Jessie Montgomery settled for in her new work – Concerto Grosso - which the Omega Ensemble had co-commissioned. This was an arresting and intriguing piece.
With its improvisatory structure built on a solid orchestral bed – the solo instruments were not so much pitted against each other and the orchestra but, swirled above and sought connection and contrast: “the blend or add new textures” inspiration that the composer said she sought. This was invigorating music that built its progression on crisp sweetness and sassy urgency. Its crunchy textures and rhythmic urgency were highly satisfying. Peter Clark led the ensemble with low-key but deft authority.
The audience was very fulsome – no doubt for the evening’s major offering: Richter’s Recomposed. Veronique Serret was a towering presence within the swirling ambience of Max Richter’s deconstruction of Vivaldi’s Le quattro Stagioni. Richter builds his inspiration on the four concertos that the Red Priest of Venice bequeathed the world. Serret’s extraordinary energy and technique guided us through this mind-altering music. The vividness of her articulation and versatile dynamics, and her collaborative musicianship, ensured this work, which is demanding of both players and audience, was bedded down with exemplary skill and commitment.
The use of fragments from such a well-known piece of baroque music – itself rediscovered in the 1940s and ubiquitously recorded from then onwards – was given sharp relief in the micro processing that Richter engenders. The repetition of musical snatches - stretched in time and then riffed with excessive, acquisitive impulses – was mesmerising. The second last movement of the work (Winter 2) was astonishing in instantiating a world of glass harmonics – as though the cold icicles had invaded our brains and the musicians’ instruments.
The elegant and inspirational orchestration was given great energy and clarity by all the musicians. The use of harpsichord, harp and synthesiser were particularly noteworthy. Both hypnotic and thrilling – this work summons a minimalist dreamscape of endless looping and restoration. It crystallises new material and gives us a hybrid sound world full of piquant frissons – articulating a fascinating dialogue between two master works. As Shakespeare might say: “mine own and not mine own”.
The middle work (Ornamental Air)– a reimagining by Kats-Chernin of her 2007 concerto for bass clarinet and orchestra as a chamber work for clarinet – was the least arresting work of the evening.
The arabesques of the clarinet were suitably dogged. The orchestral sound is busy but ultimately enervating. At times it felt as though the composer was spinning notes – ambling her way across the three movements. There was not enough arresting thematic material or orchestration to guide our engagement. The buoyant orchestral filigree sometimes suggested the soundtrack to a film – in this case maybe a French film. If the aim was for a “rhythmic and dance like movement” this was for genteel footwork. Apart from the occasional Gershwinesque jazzy flourish – the clockwork nature of the invention was episodic and constrained.
The slow movement began well, with a contemplative solo, implying “deep and soulful qualities with long sweeping lines”, but the actual material was not deeply arresting, Its partial slide into darker realms and a faint wistful melody did generate interest, but with its clear and lightweight accompaniment, this promise was not bedded down.
The final movement began well with the motorific energy which this composer can always summon. But once the energy was established it didn’t coalesce around any development – or contrast. Unlike the Richter and Montgomery pieces, the musical pulse and its repetitions seemed to lack energy. The cadenza in this movement was sometimes intriguing – as though beginning some contemplative ideas – while the chugging climax was exuberant and suitable for garnering applause. This was the best movement of this strangely diffident work.
The performance was exemplary but the music, while being pleasant, was rarely arresting. When one thinks of the glorious crankiness and conflict that Carl Nielsen gives to his Clarinet Concerto – the dark quirkiness and febrile mystery that Thea Musgrave can summon, or the true jazziness that Copland could unearth for this combination, the element of inspiration was operating on a very low pulse. The chamber arrangement did, however, add some piquancy to the original score – cutting across some of that incarnation’s over lush ambience.
Omega Ensemble – City Recital Hall, Sydney – April 12, 2024
Gar Jones