FOUR SEASONS RECOMPOSED

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Béla Bartók Music for Strings, Percussion and Celesta

Krzysztof Penderecki Sinfonietta No. 2 for Clarinet and Strings

David Rowden, Solo Clarinet Australian Premiere

- I N T ERVAL -

Max Richter Recomposed: Vivaldi The Four Seasons

Véronique Serret, Solo Violin

This performance will last approximately 120 minutes including a 20 minute interval

FOUR SEASONS RECOMPOSED

Acknowledgment of Country

Omega Ensemble acknowledges the traditional custodians of the lands on which we perform. We pay respect to the Elders both past and present, and extend that respect to all

Aboriginal and Torres Strait Islander Australians.

Thursday 19 March, 7:30pm City Recital Hall

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WELCOME

Music is a language we can all understand. It brings us together. It unites us across barriers of language, geography and time. It’s able to help us free our imaginations, elevate our moods and evoke a world of memories like no other art form can. The sweep of a symphony orchestra, the special intimacy of chamber music, and the connection of the musicians to each other reaches out to us, the audience.

The NSW Government’s vision is for NSW to be known for bold and exciting arts and culture that engages the community, and reflects our rich diversity.

Omega Ensemble contributes to the vitality of the State, and this concert season is proof of the power of music in enriching our lives. Don Harwin MLC Leader of the Government in the Legislative Council Minister for Resources Minister for Energy and Utilities Minister for the Arts Vice President of the Executive Council

On behalf of the City of Sydney, I am delighted to welcome you to Omega Ensemble’s 15th Anniversary concert season.

Over the past fifteen years, Omega Ensemble’s world class performers have thrilled audiences with diverse and exciting programming.

I commend Omega Ensemble’s significant contribution to Sydney’s live music scene since the group’s inception. I also appreciate Omega Ensemble’s efforts to showcase some of the most talented musicians from Sydney and around Australia to Sydney audiences.

Professional music groups like Omega Ensemble are vital to the cultural life of our city, and it’s wonderful they are still going strong after fifteen years. I look forward to hearing more about the group’s achievements in the future.

I hope you have a wonderful experience at Omega Ensemble’s 15th Anniversary concert season.

Clover Moore Lord Mayor of Sydney

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MUSIC NOTES

Béla Bartók (1881–1945)

Music for Strings, Percussion and CelestaC O M P O S E D I N 1 9 3 6

I. Andante tranquilloII. AllegroIII. AdagioIV. Allegro molto

The second half of the 1930s were the most productive years of Bartók’s career as a composer: orchestral works alone from this time include Violin Concerto, No. 2, the Divertimento and, arguably his masterpiece, the Music for Strings, Percussion and Celesta of 1936. Most of Bartók’s output at this time arose from specific commissions, and the Music for Strings, Percussion and Celesta was commissioned by the legendary Paul Sacher. Sacher was at once a philanthropist, personally commissioning a ‘who’s who’ of early- to mid-twentieth century composers, and a conductor who gave many of the first performances. His commission for the Music for Strings, Percussion and Celesta was to celebrate the tenth anniversary of his Basel Chamber Orchestra, which gave the premiere in January 1937. The work rapidly established itself as a modern classic, receiving numerous performances within the next two years even in Germany, where the prominently anti-Fascist Bartók was officially out of favour.

The title of the work doesn’t give much away: between the strings include piano and harp as well as a varied number of percussion instruments including the celesta. The disposition of the orchestra, moreover, is unusual for its time. The strings are symmetrically arranged, allowing for an antiphonal or stereo effect, with the other instruments taking literal centre stage. Symmetry also informs the musical content of the piece. The first movement, for instance, is a fugato: the sinuous opening theme is stated unaccompanied, and successive parts restate it in progressively more distant keys as the

Béla Bartók

Fugato: in the style of a Fugue, where musicians play an identical melodic line, but stagger the entry.

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music develops into a richly complex texture. Originally muted, the string tone gradually increases in strength until the movement’s climax (where other instruments are finally introduced). The opening theme of the movement pivots on the note A; the climax is achieved by a string unison on the note E-flat - that being as far from the note A as one can get in tonal music. From this point Bartók creates the illusion of the music going backwards, to coalesce once more on the note A.

The apparently symmetrical shape of the opening movement is, of course illusory. Music can’t go backwards, as it unfolds in time. But the proportions of the music give the impression of a literal reversal. It used to be thought that Bartók used a mathematical sequence known as the Fibonacci series to map out the distance between significant musical events, forming the proportions of such movements. A similar mathematical ratio underpins the rhythm of the famous xylophone solo at the beginning of the third movement. There is little evidence, however, that Bartók did consciously use these calculations, but his instinct was sure. The backwards section is in fact proportionately shorter than the first ‘half’, but sounds evenly balanced.

Above: Bartok's Music for Strings, Percussion and Celesta has been used in many films, most notably the Hallway Scene from Stanley Kubrick's The Shining.

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Versions of the first movement’s opening theme also appear in the succeeding three movements. In the vigorous second movement it appears disguised in the second theme we hear; it acts as a bridge between episodes in the mysterious, and characteristically Bartókian, ‘night music’ of the third. In the final movement, the theme appears in a striking passage, its intervals adjusted to produce a sense of spacious, stable consonance. And therein lies on key to this extraordinary piece: it traces a simple journey, via sound worlds of amazing variety, from instability to radiant concord. Symmetry is only half the story.

Indeed this music thrives also on asymmetry, not just in its overall trajectory but in certain details. Bartók, along with his friend and colleague Zoltán Kodály , was a pioneer in recording and notating the fast disappearing folk musics of eastern Europe. From 1934 Bartók pursued this work on a full time basis at the Budapest Academy of Sciences. At the time of the Music for Strings, Percussion and Celesta, Bartók was at work on music collected in Turkey; a few years earlier he had intensively researched Bulgarian music. The influence on his own work can’t be overstated, particularly in his use of irregular or compound rhythms, and the constant variation of material. The inexorable ‘fugato’ theme in the first movement is actually of remarkable elasticity; the asymmetrical rhythmic motifs which power the faster movements of the work are likewise derived from folk music. The abstract nature of the title and the work’s astounding structural complexity aside, the Music for Strings, Percussion and Celesta is a deeply humanist document.

Krzysztof Penderecki (1933– )

Sinfonietta No.2 for clarinet and stringsC O M P O S E D I N 1 9 9 4

I. NotturnoII. ScherzoIII. SerenadeIV. Abschied

Polish composer Krzysztof Penderecki came to international notice in the late 1950s, when his works began to be programmed at important festivals of new music, such as Donaueschingen in Germany. His breakthrough piece was composed in 1960. Originally given the ‘Cagey’ title of 8’37”, Penderecki soon gave it the name by which it

Krzysztof Penderecki. Photo: Marek Suchecki

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has continued to be known: Threnody to the Victims of Hiroshima. For an ensemble of 52 strings, the Threnody demonstrated the composer’s love of dramatic gesture and rhetoric; its extended instrumental techniques, including indeterminate cluster harmonies, percussive effects and other ‘extended techniques’, and searing bands of dissonant sound were at once a shattering exploration of new sonorities and a sincere response to human suffering.

Penderecki’s subsequent works have frequently dealt with big issues of a spiritual nature, often in media such as opera, including Paradise Lost, and large scale sacred works such as Magnificat, Polish Requiem and the oratorio The Seven Gates of Jerusalem. His Threnody avoided more traditional elements like melody, harmony and regular rhythm, but in the late 1970s Penderecki, like his countryman Witold Lutosławski, sought to build bridges between

Above: Graphic notation from Penderecki's Threnody to the Victims of Hiroshima.

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avant-garde and traditional musical languages. His Violin Concerto, written in 1976 for Isaac Stern, is a large scale work in the Romantic tradition, and his operatic and choral music explored overtly religious themes. His 1979-80 work Te Deum famously (and subversively for communist-era Poland) includes an old Polish hymn, and is dedicated to another countryman, Pope John Paul II. As Adrian Thomas has pointed out, this was also the time of the foundation of the trade union Solidarity and subsequent martial law in Poland. The Te Deum and Polish Requiem are both political and religious works.

Penderecki’s two Sinfoniettas date from the early 1990s, and both are transcriptions of extant chamber works. For the Sinfonietta No. 2, completed in 1994, Penderecki refashioned his Clarinet Quartet from the previous year.

The piece falls into four movements played more or less without pause. The opening Notturno begins with a slowly unfurling rumination from the clarinet, full of semitones and minor thirds, which is eventually answered by a pensive counter-melody from the violas, punctuated by soaring long notes from violins. The atmosphere is similar to that of some ‘night music’ passages in Bartók.

The Scherzo provides a sharp contrast, with its angular motoric rhythms, bursts of frenetic activity and pizzicato punctuations rather like Benjamin Britten in bustle mode.

The Serenade (marked tempo di valse) is unashamedly parodic, revelling in sudden acceleration and slowing of tempo that give the waltz a decidedly drunken feeling.

Such parody might suggest Mahler, and by entitling his final movement Abschied (farewell) Penderecki explicitly evokes the final movement of the earlier composer’s Song of the Earth. Like Mahler, Penderecki’s Abschied is a slow movement which lasts roughly the time of the previous movements combined (though in Penderecki’s case this amounts to seven or eight minutes – rather less than Mahler). Further, Penderecki begins in a Mahlerian sound world: a long sustained note supports fragmentary, emotion-laden melodies which give rise to fleeting moments of rich harmony, and the clarinet’s repeated minor third might be a reminiscence of the same gesture in Mahler. Moreover, both composers’ ‘farewells’ are made through the progressive fragmentation of the musical texture and its gradual, but inexorable, passing into silence.

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Max Richter (1966– )

Recomposed: Vivaldi The Four SeasonsC O M P O S E D I N 2 0 1 2

I. Spring 0 - 3II. Summer 1 - 3III. Autumn 1 - 3IV. Winter 1 - 3

Vivaldi knew the value of publishing his music. In The Four Seasons Vivaldi’s musical rhetoric exquisitely depicts the seasons’ progress and annual rhythms of life, described also in sonnets (possibly written by him) that he affixed to the score. The set forms part of Il cimento dell’armonia e dell’inventione (‘The Contest of Harmony and Invention’), Opus 8, which was published in 1725 in Amsterdam. The publisher, Etienne Roger had developed the new technology of engraved plates – these could be reused as often as needed, and because there wasn’t a single glyph for every note, the use of beams to link groups of small notes together made the print more legible than before.

Vivaldi also knew the value of not publishing certain works, understanding that anything in print was fair game for other composers to copy – Bach did just that with several of Vivaldi’s pieces. Baroque composers were accustomed to the notion of ‘parody’ in its original sense: composers might borrow music from their own or others’ instrumental music and set the words of, say, the mass to them.

Vivaldi would, then, have been unsurprised and probably quite comfortable with Max Richter’s ‘recomposition’ of his most popular work in 2012. The German-born British composer has a distinguished career in electro-acoustic work, including scores for the stage and screen, and the post-minimalist aspect of his style makes for a fruitful point of contact between his music and that of the Baroque. But this is no mere arrangement or remix, as the composer has noted:

I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence rewrite it, recomposing it in a literal way.

Max Richter. Photo: Yulia Mahr

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In the event, with quasi-minimalist repetition and dramatic elisions of Vivaldi’s music, Richter estimates he retained about one quarter of the original. He begins with a brief sound sculpture that sets the scene for spring; in the first movement he plays with Vivaldi’s birdcalls over a new, slow-moving ostinato of magisterial chords. Similarly in the other two movements a phrase from the original is repeated and examined from different angles; Vivaldi’s nymphs and shepherds are omitted.

After a relatively straight version of the introduction, the first movement of summer drives the ‘cuckoo’ motif relentlessly before Richter adds his own long cantilena. Richter captures the heat-struck lassitude of the second movement, and in the third adds new rhythmic emphasis to Vivaldi’s stormy music. Autumn 1 is full of subtle rhythmic displacements before the somnolent episode toward the end. The slow movement uses electronics to create a static, echoing sound-world. Vivaldi’s ‘hunting horns’ are absent from Autumn 3, the music using the soloist’s first material to decorate more, slow-moving ostinatos. Winter 1 is characterised by familiar material made strange by slight metrical irregularities. There is no crackling fire in the slow movement, where the violin sings the lonely melody against a frozen backdrop. Similarly, Richter dispenses with Vivaldi’s skaters while still creating a sense of movement through a winter landscape.

All notes by Gordon Kerry

Ostinato: A short melody or pattern that is constantly repeated, usually in the same part at the same pitch.

Cantilena: A sustained, smooth flowing melodic line.

Above: Max Richter with the score for Four Seasons Recomposed. Photo: Erik Weiss / Courtesy of the Artist

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THE ENSEMBLE

Harry WardVIOLIN

Peter ClarkVIOLIN

Steve WrightVIOLA

Robin BrawleyDOUBLE BASS

Belinda JezekVIOLIN

Neil ThompsonVIOLA

Rowena MacneishVIOLONCELLO

Mark RobinsonTIMPANI

Madeleine EastonVIOLIN

Virginia ComerfordVIOLA

Ben WardDOUBLE BASS

Josh HillXYLOPHONE

Tim BrigdenPERCUSSION

Emily GrangerHARP

Gordon HamiltonCONDUCTOR

Anna Da Silva ChenVIOLIN

Cristina VaszilcsinVIOLIN

Andrew JezekVIOLA

Clemens LeskePIANO

Vera MarcuVIOLIN

Ben TjoaVIOLIN

Paul StenderVIOLONCELLO

Sally WhitwellCELESTE / HARPSICHORD

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FEATURED ARTISTS

David Rowden Clarinet / Artistic DirectorBorn in Sydney, David Rowden studied clarinet from a young age and was later awarded a scholarship to study at the Royal Academy of Music, London, where he won the Geoffrey Hawkes Prize. Whilst overseas, David studied in Italy with Anthony Pay at the Accademia Musicale Chigiana, Siena, in France at the Academie de Villecroze with French clarinetist Paul Meyer, and also at the Pacific Music Festival in Japan. Rowden was also a finalist in the ABC Young Performer of the Year Awards.

Rowden has performed with many of Australia's premier orchestras including the Sydney Symphony Orchestra, Australian Opera and Ballet Orchestra, Queensland Symphony Orchestra, Adelaide Symphony Orchestra, Canberra Symphony Orchestra, and numerous international engagements including with New Zealand Symphony Orchestra and guest principal with Seoul Philharmonic Orchestra. Rowden has also performed as guest artist with the Australia Ensemble and Sydney Soloists.

In 2005, Rowden founded Omega Ensemble, and has led the organisation from their early performances in Sydney to sell-out events at Australia's premier concert venues. The Ensemble has been invited to perform in numerous music festivals around Australia, as well as two tours to China with masterclasses at the Beijing Central Conservatory, Chang Chun’s JiLin College of Arts and Dalian University.

Rowden has given the Australian premieres of works by Bernard Herrmann, Nico Muhly, Krzysztof Penderecki and performed with international artists Paul Meyer and Dimitri Ashkenazy. With Omega Ensemble, Rowden has pioneered the commissioning of more than 40 new works from Australian and international composers, including notably, Nico Muhly, Paul Stanhope, Elena Kats-Chernin, Andrew Ford, Matthew Hindson, George Palmer and Gordon Kerry.

In 2016 Rowden was elected an Associate of the Royal Academy of Music (ARAM), an honour awarded to alumni who have made a significant contribution to the music profession.

Rowden recorded his debut album with Omega Ensemble on the ABC Classic label, featuring a performance of George Palmer’s Clarinet Concerto: It Takes Two with Dimitri Ashkenazy, Ian Munro’s Clarinet Quintet ‘Songs from the Bush’ alongside Mozart’s Clarinet Quintet. In 2019, Rowden recorded his second album with ABC Classic, including a two world premiere recordings by American composer Nico Muhly.

Rowden also appeared on the 50th Anniversary DVD of the iconic children’s program, Play School, where he performed alongside children's entertainer Justine Clarke and (of course) Big Ted.

David Rowden is a D’Addario Australia endorsed artist, performing on D’Addario Reserve Evolution reeds, and in 2019 Rowden joined the F. Arthur Uebel family as their first Australian artist performing on the groundbreaking ‘Zenit’ 24k Mopane clarinets.

14 Paul Stender, cello. Photo: Keith Saunders

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FEATURED ARTISTS

Véronique Serret ViolinVeronique Serret has established herself as a versatile musician whose repertoire ranges from baroque to contemporary art music, folk, rock and improvisation, and regular collaborations with Australian composers.

Veronique is also an exponent of the 6-string violin paired with electronics, exploring many possibilities and sound-worlds, creating her own compositions and commissioning new works. Later this year, Veronique will undertake a month-long mentorship in 6-string violin, electronics and composition in Nashville with Tracy Silverman, made possible by the Australia Council.

Recent performance highlights include at the Commonwealth Games with indigenous band The Spirit of Churaki, a residency with Laurie Anderson at HoTa Gold Coast, a national tour with Kate Miller-Heidke, leading the orchestra for Neil Finn, collaborations with didgeridoo master William Barton at Woodford, MonaFoma and Sydney Festivals, as well as directing children’s shows for the ABC at the Sydney Opera House.

In recent years, Veronique has performed Tchaikovsky’s Violin Concerto with the Australian Doctors Orchestra for their Darwin premiere, appeared as soloist for Arvo Part’s Tabula Rasa with the Sydney Symphony Orchestra, performances at Sydney Festival, Canberra International Music Festival, Dark MoFo, and Darwin Festival, collaborating with Djakapurra Maryayun (didgeridoo), Topology and pianist Tamara Anna Cislowska.

Since 2010, Veronique has toured internationally with American folk harpist Joanna Newsom as both lead violin & backing vocalist. She is a core member of new music group Ensemble Offsring and founding member of the string band CODA, currently touring with Australian icon Archie Roach.

Veronique is a regular collaborator with Sydney Dance Company, recently as soloist at the STEPS Festival in Switzerland, and dates in Brazil and Chile. Previous collaborations also include Alexander Ekman’s Cacti (2017/2013) and Shared Frequencies (2011).

A regular in Sydney’s recording studios, Veronique can be heard on many Australian albums and film soundtracks. Her film credits include The Black Balloon, Mental, The Turning, The Rocket, Around the Block, Red Obsession, The Little Death, Last Cab to Darwin, Hearts and Bones, I am Woman as well as the Netflix series Beat Bugs.

In recent years Veronique has led orchestras for Giorgio Moroder, Cinematic Orchestra, Megan Washington, Sarah Blasko, Fleet Foxes, Damon Albarn, Bigstar, Missy Higgins and Ed Kuepper.

Veronique was a member of the Australian Chamber Orchestra for many years and in 2014 was appointed Concertmaster of the Darwin Symphony Orchestra. During her time in the Northern Territory, Veronique was fortunate to experience indigenous culture first hand performing at Barunga and Walking With Spirits festivals as well as presenting education concerts at Darwin Festival and in East Arnhem Land.

Veronique performs on a 1900 Leandro Bisiach violin and a custom made 6 string electric by Paul Davies.

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ATTENDANCE GUIDE

Can I take photos?

We encourage you to share your concert experience. However, taking photos during the performance can be distracting to our musicians and other audience. The most appropriate time to snap a photo (without flash) is before or after the performance, or during applause. Video or audio recording at any time is strictly prohibited.

When should I clap?

Many works performed are made up of smaller parts called 'movements'. When a work has multiple movements, these are listed in the concert program so you can follow along. Musicians may pause in between movements, however we ask you hold your applause until the final movement is complete. If you're unsure, wait until the Ensemble takes a bow.

Talking and Distractions

The thrill of chamber music is experiencing the performance up close. However, this means that any noise you make can often be heard by the musicians and others around you. Please limit any talking or noise during performance.

GUIDE DES SPECTATEURS

Quelle est la durée de la représentation?

Cette représentation devrait durer 120 minutes environ, avec un entracte de 20 minutes.

Puis-je prendre des photos?

Nous vous encourageons à partager votre expérience du concert. Toutefois, la prise de photos pendant la représentation peut être source de distraction pour les musiciens et les autres spectateurs. Le moment le plus propice pour prendre une photo (sans flash) est avant ou après la représentation, ou pendant les applaudissements. L’enregistrement vidéo ou audio est strictement interdit à tout moment.

Quand dois-je applaudir?

De nombreuses œuvres interprétées se composent de plusieurs sections plus courtes nommées « mouvements ». Lorsqu’une œuvre contient plusieurs mouvements, ces derniers sont énumérés dans le programme du concert. Les musiciens peuvent s’arrêter entre les mouvements. Cependant nous vous demandons de ne pas applaudir avant la fin du dernier mouvement. En cas de doute, attendez que l’Orchestre salue le public.

Conversation et distractions

Tout le plaisir de la musique de chambre vient du fait de se trouver tout près de l’orchestre. Cela signifie toutefois que tous les bruits que vous pourriez faire seront entendus par les musiciens ou d’autres personnes qui vous entourent. Veuillez limiter toute conversation ou tout bruit pendant la représentation.

INFORMATIONEN ZUR

TEILNAHME

Wie lange dauert das Konzert?

Dieses Konzert dauert rund 120 Minuten und hat eine 20-minütige Pause.

Darf ich fotografieren?

Wir finden es gut, wenn Sie Ihr Konzerterlebnis mit anderen teilen. Es könnte die Musiker und andere Besucher jedoch ablenken, wenn Sie während der Darbietung Fotos machen. Wir empfehlen daher, dass Sie Ihre Fotos (ohne Blitz) vor oder nach der Darbietung oder während des Applauses machen. Video- und Audioaufnahmen sind hingegen durchgehend untersagt.

Wann soll ich klatschen?

Viele der dargebotenen Werke setzen sich aus kürzeren Teilen oder „Sätzen“ zusammen. Wenn ein Werk aus mehreren Sätzen besteht, werden diese im Konzertprogramm aufgeführt, an dem Sie sich in dieser Hinsicht orientieren können. Die Musiker machen zwischen den Sätzen mitunter Pausen, doch möchten

wir Sie bitten, mit dem Applaus bis zum Ende des letzten Satzes zu warten. Wenn Sie sich unsicher sind, warten Sie mit dem Applaus, bis sich das Ensemble am Ende eines Stückes verbeugt.

Sprechen und Ablenkungen

Das Schöne an Kammermusik ist die Unmittelbarkeit und Nähe des Musikerlebnisses. Das bedeutet jedoch auch, dass die Musiker und anderen Zuhörer praktisch jedes Geräusch wahrnehmen. Bitte unterlassen Sie deshalb bitte während der Darbietung alle Gespräche und vermeiden Sie Geräusche.

GUIDA ALLA PARTECIPAZIONE

Quanto dura lo spettacolo?

Questo spettacolo durerà circa 120 minuti compresi 20 minuti di intervallo

Posso scattare delle fotografie?

Vi incoraggiamo a condividere la vostra esperienza al concerto. Tuttavia, scattare delle fotografie durante lo spettacolo può creare distrazione per i nostri musicisti e per il resto del pubblico. Il momento giusto per scattare una foto (senza flash) è prima o dopo lo spettacolo, o durante gli applausi. Le registrazioni video o audio sono sempre strettamente vietate.

Quando applaudire?

Molte delle opere eseguite sono composte da piccole parti chiamate “movimenti”. Quando un’opera comprende vari movimenti, essi sono elencati nel programma del concerto in modo da permettervi di seguirli. I musicisti potrebbero fermarsi tra un movimento e l’altro, tuttavia vi chiediamo cortesemente di aspettare ad applaudire fino al termine dell’ultimo movimento. Nell’insicurezza, aspettate fino al momento dell’inchino.

Parlare e altre distrazioni

L’emozione della musica da camera sta nel partecipare allo spettacolo da vicino. Tuttavia, ciò significa che qualsiasi rumore facciate potrebbe essere sentito

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dai musicisti e dal resto del pubblico. Vi chiediamo cortesemente di evitare di parlare e fare rumore durante lo spettacolo.

GUÍA PARA LA CONCURRENCIA

¿Cuánto dura la actuación?

Esta actuación durará 120 minutos aproximadamente, incluido un intervalo de 20 minutos

¿Puedo tomar fotos?

Lo alentamos a compartir su experiencia en el concierto. Sin embargo, tomar fotos durante la actuación puede distraer a nuestros músicos y a otras personas del público. El momento más adecuado para sacar una foto (sin flash) es antes o después de la actuación, o durante el aplauso. Queda estrictamente prohibido grabar video o audio en cualquier momento.

¿Cuándo debo aplaudir?

Muchas obras están compuestas de partes más pequeñas que se denominan “movimientos”. Cuando una obra tiene varios movimientos, están enumerados en el programa del concierto para que usted los pueda seguir. Los músicos pueden hacer pausas entre movimientos; sin embargo, le pedimos que sostenga su aplauso hasta que el movimiento final haya finalizado. Si no está seguro, espere hasta que la orquesta salude.

Charlas y distracciones

La emoción de la música de cámara es experimentar la actuación de cerca. No obstante, esto significa que, con frecuencia, los músicos y otras personas alrededor suyo pueden escuchar cualquier ruido que usted haga. Por favor, limite toda charla o ruido durante la actuación.

鑑賞ガイド

演奏会はどれくらいの時間がかかりますか？

この演奏会は20分の休憩を挟み約120分間です

写真を撮影できますか？

コンサート体験はご自由にシェアしていただきたいと思います。しかし上演中の写真撮影は、演奏者や他の観客の邪魔になることがあります。写真撮影（フラッシュなし）に最も適切な時は演奏前後または拍手喝采の間です。動画の録画またはオーディオの録音は常時禁止となります。

いつ拍手すればよいですか？

多くの楽曲の演奏は「楽章」と呼ばれる小構成部分に分かれています。楽曲に複数の楽章がある場合、観客の皆様に追跡いただけるように、コンサートプログラムに記載されています。

演奏者は楽章の間に停止するかもしれませんが、拍手は最終楽章が終了するまでお待ちください。良く分からない場合は、アンサンブルの団員が聴衆に向かって礼をするときまでお待ちください。

会話や雑音

室内楽の面白さは演奏を間近で経験できることです。しかしわずかな音でも、演奏者や周囲のお客様の耳に届くことがあります。演奏中の会話や雑音はできる限りお控えください。

공연 관람 안내

공연 시간은 얼마나 되나요?

본 공연은 20분의 인터미션을 포함하여 약

120분간 진행됩니다

사진을 찍어도 되나요?

저희는 관람객분들이 경험한 콘서트를

다른 분과 나누기를 바랍니다. 다만, 공연

중 사진 촬영은 연주자와 다른 청중에게

방해가 됩니다. (플래시 없이) 사진 촬영이

적절한 타이밍은 공연 전후 또는 박수를

치는 동안입니다. 전체 공연 중 영상 촬영

및 음원 녹음은 엄격하게 금지합니다.

언제 박수를 쳐야 하나요?

많은 연주곡들은 ‘악장’이라는 소곡들이

모여 구성됩니다. 한 연주곡에 여러 악장이

있는 경우, 콘서트 프로그램에 목록이

있으니 참고해 주십시오. 연주자들이 한

악장과 다음 악장 사이에 잠시 멈추더라도

마지막 악장이 끝날 때까지는 박수를 참아

주세요. 잘 모르시겠다면, 앙상블이 인사할

때까지 기다렸다 치시면 됩니다.

대화와 관람 방해

실내악의 멋진 점은 연주를 가까이서

듣는다는 것입니다. 하지만 이는 곧

관람객이 내는 소음이 연주자와 다른

관람객에게도 잘 들릴 수 있다는

의미입니다. 공연 중 대화 또는 소음은

자제해 주십시오.

观演指南演出时长是多久？

本场演出时长约120分钟，包括20分钟的中场休息

我可以拍照吗？

我们鼓励您分享您在音乐会上的体验。但是，演出期间拍照可能会分散音乐家和其他听众的注意力。最合适的拍照（关闭闪光灯）时间是在演出开始之前，或结束之后，或在集体鼓掌之时。全程禁止录制视频或音频

我什么时候可以鼓掌？

演出的许多作品可能由“乐章”组成。一部作品有多个乐章的，我们会在音乐会节目单中列出，以便您提前知晓。音乐家可能会在每个乐章之间短暂停顿一下，但是我们请您此时忍住，待最后一个乐章演奏结束后再鼓掌。如果您不确定，最好等到乐团鞠躬致意的时候。

谈话和干扰

室内乐的精髓在于近距离体验，而这意味着如果您发出任何声音，音乐家和周围的人往往都能听到。因此，在演出期间，请尽量不要谈话或发出任何声响。

18

SUPPORTERS

Brillante $20,000 +

The Paradice Family FoundationMr Robert Albert AO & Elizabeth AlbertMr Kim Williams AMAnonymous (1)

Maestoso $10,000 +

Wayne Burns and Kean Onn SeeThe Late Hon. Jane Mathews AOJohn and Libby SnowdonMr Geoffrey White OAM & Ms Sally WhiteMr Cameron WilliamsAnonymous (1)

Maestri $5,000 +

Mr Bernard Coles SCChris, Ingrid and Daniel LathamMs Alida Stanley and Mr Harley Wright

Virtuosi $1,000 +

Joan and Ross BerglundMr David Cervi & Ms Liz StrasserMr Stuart GlennGrant Family Charitable TrustJulie Hamblin and Martin KrygierMr & Mrs Diccon and Elizabeth LoxtonRobert McDougall

Paul O'DonnellJames Hmelnitsky and Kate O'RourkeThe Hon. George Palmer AM QCJohn Hamilton and Wendy RobinsonMs Stephanie Smee and Mr Paul SchoffRon & Judy SolomonMr & Mrs Tom and Dalia StanleyDr Anna StoryProfessor Gillian Straker & Ms Nellie RobertsonProfessor Geoff and Renee SymondsDr Jenepher ThomasAnonymous (2)

Virtuosi $500 +

Ms Amanda Armstrong - In memory of Steven AlwardMr & Mrs Gary and Joanna BarnesLea BouganimMichael BrayMr & Mrs Roberto and Ofelia BrozkyCharles and Maile CarnegieMr & Mrs Alan and Phillippa ClarkProfessor Zoltán H EndreNorman GillespieSian GrahamMr & Mrs Richard & Alison Morgan

Dr and Mrs John NegrineMr & Mrs Robert and Tessa PhillipsPoignand ConsultingPetrina SlaytorHugh Lamberton and Katrina StricklandMark Wakely in memory of Steven AlwardTony and Doffy WhiteAnonymous (4)

Virtuosi $250 +

Kate AbrahamsCharles and Anne EdmondsonMs Julia FungStephanie HallidayJenny and Jeff Herbert-SmithRandell HeymanHe Crane LiuLisa-Marie Murphy and Nick FletcherNatasha NankivellTimothy & Eva PascoeAnonymous (3)

We invite you to join our group of dedicated music-lovers and arts philanthropists by making a tax-deductible donation to Omega Ensemble.

For more information visit omegaensemble.com.au/support

19

Champagne Partner

Impact Partner

Educational Partners

Hotel Partner

Supporters

Government Partner Development Partner

Production Partner

Foundation Partner

PARTNERS

CREDITS

Board

Wayne Burns, Chair David Cervi, Treasurer Stuart Glenn Alida Stanley David Rowden

Artistic Director

David Rowden

Administration

David Boyce, General Manager

Nicolas Kyprianou-Brown, Marketing Assistant

Ambassador

Gerard Willems AM

Chairman’s Council

Mr Wayne Burns (Chairman) Ms Karen O’Flynn Dr Neville Rowden Mr Shane Simpson AM Mrs Mary Anne Terry Robert Titterton OAM

Artistic Directors’ Circle

Mr Mark Wakely Dr Jane Rowden Mrs W.G.Keighley

Young Ambassadors

Karen Chen Benjamin Gibbons Isabella Rahme Ezra Hersch

With Thanks

Sydney Symphony Orchestra, Studio 301, Devirra Music, Hal Leonard Australia, Hitman Percussion, Ross Irons, Linguistico Smart Translations.

Italian harpsichord after Grimaldi by Carey Beebe 1990 supplied and prepared by Carey Beebe Harpsichords

Omega Ensemble is a not-for-profit company registered in NSW.

PO Box 525 Surry Hills NSW 2010 1300 670 050 contact@omegaensemble.com.au

Omega Ensemble ACN 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).

Details correct at time of printing. Omega Ensemble reserves the right to alter scheduled artists and programs as necessary.

Cover Photo: Keith Saunders

Printelligencegroup

THE ART OF CHAMPAGNESince 1836

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