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NIGHT AND NOW

2021 CONCERT SEASON

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Newcastle Sat 20 Feb 2021 7:00PM Newcastle City Hall Presented as part of New Annual Festival

Penrith Fri 26 Feb 2021 7:30PM Joan Sutherland Performing Arts Centre

Sydney Sat 27 Feb 2021 2:30PM & 6:30PM Utzon Room, Sydney Opera House

Melbourne Fri 26 Mar 2021 2:30PM & 7:00PM Primrose Potter Salon, Melbourne Recital CentreAcknowledgment of Country

Omega Ensemble acknowledges the traditional custodians of the many lands on which we perform and work. We pay respect to the Elders both past and present, and extend that respect to all Aboriginal and Torres Strait Islander peoples.

NIGHT AND NOW

20 Feb - 26 Mar 2021

Concertos, Quintets and World Premieres

Gordon Kerry Clarinet Quintet

Elena Kats-Chernin Flute Quintet, 'Night and Now' * World Premiere

Frédéric Chopin Piano Concerto No. 1 in E minor, Op. 11 (Arrangement for Piano Quintet)

This performance will last approximately 90 minutes without interval

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

Cover Photo: Keith Saunders

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WELCOME

Welcome to our 2021 Concert Season.

Frédéric Chopin once wrote: "Sometimes I can only groan, suffer, and pour out my despair at the piano!"

Over 385 days since our last public performance, the music in this program is not only a celebration of our triumphant return to the concert stage, but also a pouring out of our own musical hearts. It's true that the past year has been the most challenging period in our Ensemble's history, and we can't overexpress how grateful we are to be back on stage performing for you (a living, breathing audience!) after so long.

It is equally special to mark our return to the concert hall with music by two of Australia's most celebrated composers, Gordon Kerry and Elena Kats-Chernin. It is an honour to add these important new works and musical voices to our Ensemble's ever-growing commissioning profile.

I truly hope this performance is as fulfilling a musical experience for you as it will be for us. We thank you for your continued support and I can't wait to share more news of our 2021 Season with you very soon.

David Rowden Artistic Director & Founder

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MUSIC NOTES

Gordon Kerry (1961— )

Clarinet QuintetComposed in 2019. Commissioned by Omega Ensemble with the generous support of Kim Williams AM. Digital world premiere at Sydney Opera House on 12 September 2020 followed by the first public performance at Nanda\Hobbs Gallery, Sydney on 18 October 2020.

I. Grave –II. Andantino con moto – meno mossoIII. Allegro –IV. Sostenuto – moderato –V. Grave

Gordon Kerry lives on a hill in north-eastern Victoria, where he composes and writes about music. The 2021 season sees several new works for ensemble, orchestra and choir.

Of his Clarinet Quintet, the composer writes:

One can only hope that to compose a clarinet quintet isn’t tempting fate, given that the greatest of them – Mozart’s and Brahms’ – are late, if not last works. Brahms had essentially decided to stop composing and set his affairs in order at around my current age, and only an unexpected experience of hearing Richard Mühlfeld’s clarinet-playing spurred him to write those late masterpieces for the instrument.

It is always a pleasure to write for specific performers, and I hope this work adequately celebrates David Rowden’s lyricism and technical agility, as well as the talents of those fine musicians who have formed Omega Ensemble. In addition, I am grateful for the support of Kim Williams – himself both clarinettist and composer, and an exemplary patron of the arts.

Gordon Kerry

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7Opposite Page: Elena Kats-Chernin. Photo: Bruria Hammer

The piece is in five linked movements: the opening Grave poses a number of questions, before a kind of cadenza for clarinet set against spacious chords. The Andantino that alternates between fast-moving shimmer and sparser counterpoint, and moves via a second cadenza to the Allegro. This contrasts passages of florid writing with broader melodic sections, before raucous unmusical sounds lead to the Sostenuto section. The music here is much gentler at first, becoming more agitated and collapsing in a ruck of string sounds. The finale section is marked Grave and is often very slow, picking up some threads from the opening, but adding layers of ever more elaborate texture.

Elena Kats-Chernin (1957— )

Flute Quintet, 'Night and Now'Based on Flute Concerto, premiered by Sally Walker and Darwin Symphony Orchestra in 2015. Adapted for flute quintet by Elena Kats-Chernin and Elizabeth Jigalin, and commissioned by Omega Ensemble with the generous support of the Stanley Family.

I. Solemn – piu mosso – tranquilloII. Allegro moderato e molto ritmico – slower, expansiveIII. Cadenza – Rondo

Within Elena Kats-Chernin’s prodigious output are several recurring preoccupations. There is her interest in fairy tale and myth: one of her finest orchestral works is entitled, simply, Mythic and specific tales inform various other works including her celebrated ballet, Wild Swans and its satellite pieces, inspired by Hans Christian Andersen’s story. At the same time, Kats-Chernin’s music often recalls and evokes Russia; she was born in Tashkent and, as she says, until she was 17 years old, the old Soviet Union ‘was everything that I knew’.

These two preoccupations came together in Night and Now, in its first iteration as a flute concerto written for flautist Sally Walker in 2015, and now adapted for flute quintet for Walker and Omega Ensemble.

The first of its three movements, as Kats-Chernin notes:

... is based on two imagined Russian fairy tales; one

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taking place deep in the woods – always a place of foreboding and unease (for this writer), but also promise and adventure and transformation. The other is in a silvery castle, impressively elaborate and bejewelled. A place of immersive succour and plenty. Two very different ‘nights’.

The woods are rendered in simple textures, as the strings provide sustained harmonic support for the flutes often folk-like phrases. The castle, perhaps, is evoked by more active music, with ornate lines for the flute and emphatic rhythms that final reach a state of tranquillity.

By way of complete contrast, the Russia that haunts the second movement is more recent and immediate one, as Kats-Chernin explains:

One of my overriding memories of childhood in Russia is of lining up for hours and hours for one loaf of bread or piece of cheese, and the perseverance and sometimes ultimate disappointment that had to be faced when food just ran out. This was absolutely distinct from the wonder and open-mouthed joy my family would feel when we were able

Above (L-R): Composer Elena Kats-Chernin and flautist Sally Walker. Photo: Steven Godbee

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to get (greatly prized) oranges or strawberries. What a joy that was! Both of these extremes, joy and disappointment, are embedded in this movement.

So, the movement consists of two highly contrasting musical manners: the first is a frenetic A minor Allegro, with an angular theme given out first by the flute and elaborated in insistent counterpoint by the whole ensemble; ‘joy’ is embodied in what Kats-Chernin described as ‘a more romantic, starry-eyed melody in a completely different key (D flat major)’ marked ‘slower, expansive’.

The final movement begins with a cadenza, in which the flute develops material distantly related to the rising arpeggios and falling scales of the first movement, and the strongly profiled rhythmic motifs of the second. Its final trills imperceptibly become obsessive triplets, leading to the main body of the movement, a tarantella in C minor. This ever more energetic dance – associated with the southern Italian city of Taranto – has attracted its own myth, which Kats-Chernin found attractive:

I like the story of the Tarantella evolving from the agitated dance of the victim of a tarantula bite. The bitten would attempt to draw out the spider poison through ever more vigorous and indefatigable movements, gestures and signs. Most Tarantellas are in 6/8 but mine is in 12/8. Perhaps there were two spiders?

Frédéric Chopin (1810–1849)

Piano Concerto No.1 in E minor, Op.11 (for Piano Quintet)Composed in 1830.

I. Allegro maestosoII. Romanze: LarghettoIII. Rondo: Vivace

Chopin knew from very early in adult life that the career of piano virtuoso was not for him. According to his friend, colleague and rival Franz Liszt, Chopin was ‘repelled by the furious and frenzied face of Romanticism’. Where Liszt’s career traces a magnificent arc from prodigy through virtuoso to distinguished composer of large-scale works, Chopin’s seems a story of withdrawal from the concert

Frédéric Chopin, detail of a photo by L.A. Bisson, 1849, taken in the home of his Parisian publisher.

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platform and even from metropolitan society. But the cliché of him retreating into miniatures is inaccurate. Not only do the solo works in the genres that he made his own, such as the nocturne, ballade, polonaise or mazurka, often take on a substantial scale and an amazing intricacy, Chopin remained interested enough in ‘classical’ forms to complete his Third Sonata as late as 1844.

It is true, though, that after he left Poland in 1830, his piano music became ever more subtle – more suited to the salon than the concert hall – and that he wrote virtually no music involving any other instruments. The pieces for piano and orchestra, including the two concertos, were, with one exception, the work of the late-teenaged composer in his native Warsaw.

There are three major works for piano and orchestra that predate the concertos. In 1828 Chopin composed the Variations on Polish National Themes, Op.13 and the Rondo à la Krakowiak, Op.14 – the latter based on a popular dance form from the Kraków region. Both, therefore, reflect Chopin’s early interest in Polish demotic music, which had been cultivated by his composition teacher, Józef Elsner and been hailed by critics as expressing ‘the Polish soul’. In the previous year Chopin had composed his Variations on ‘Là ci darem la mano’ from Mozart’s Don Giovanni, the work that prompted Robert Schumann’s famous review, with its conclusion: ‘Hats off, Gentlemen. A genius!’

Chopin’s innovation, in his solo music especially, was to introduce a polyphonic complexity to this simple texture without destroying its effect. He famously criticised the music of Beethoven, saying it is occasionally ‘obscure and seems lacking in unity… the reason is that he turns his back on eternal principles; Mozart never’. It would be wrong, however, to imagine that in writing his two concertos, Chopin used Mozart’s as a model. Charles Rosen has argued that ‘as a student, Chopin knew the solo works of Mozart, but probably none

"It should be like dreaming in beautiful springtime – by moonlight."

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of the concertos: his idea of the concerto form came from Johann Nepomuk Hummel, Frédéric Kalkbrenner, and John Field’, and it was to Kalkbrenner that he dedicated his Piano Concerto in E minor.

The Concerto opens with a movement in triple metre that anticipates some of Schumann’s symphonic writing and which builds to a climactic fanfare; after a quieter reprise of the opening the piano, again, enters with an arresting gesture.

At the time of composition, Chopin was infatuated with singer Konstancja Gladowska, and this may also lie behind the slow movement, marked Romanze: larghetto, of the concerto. Writing to his friend Tytus Woyciechowski, Chopin explained that this movement:

... is not supposed to be strong, but romantic, soft, calm, melancholy; it should give the impression of gazing at a spot which brings back a thousand memories. It should be like dreaming in beautiful springtime – by moonlight.

This would be one of the few times Chopin indulged in any such explication of his music. Nonetheless, that the concertos continue his assertion of Polishness, in the face of growing tensions with

Above: Chopin’s heart is paraded past an honor guard in Poland in 1945. Credit: The Fryderyk Chopin Institute, Warsaw

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Russia, is clear in the finales. In the finale, the ensemble solemnly introduces the piano playing a sparkling 2/4 krakowiak that it elaborates in ever more brilliant ways throughout.

Chopin ‘premiered’ both concertos in concerts in private houses, in both cases accompanied by a small scratch orchestra; there are also versions of the works as two-piano or piano and string quartet scores. The first public performances were triumphs but soon Chopin was doubting his ability to perform in large halls. He wrote to Liszt that he was ‘not fit to give concerts; the crowd intimidates me and I feel asphyxiated by its eager breath, paralysed by its inquisitive stare, silenced by its alien faces’.

Sadly there exists no autograph score of the Piano Concerto in E minor but both concertos were published during Chopin’s lifetime so we can assume he took responsibility for the scoring. This has been generally regarded as less engaging than the orchestration of the earlier works with orchestra, and has tempted numerous people to ‘improve’ the scores – and to make the piano parts more ‘Lisztian’. On the basis of one such, George Bernard Shaw noted that the early death of the arranger, pianist Carl Tausig, was ‘like that of Ananias, the result of supernatural interposition for the extermination of a sacrilegious meddler.’ In fact, however, the concerto as a genre was becoming increasingly unfashionable, as attention was focused on solo virtuoso recitals and the intimate miniatures of Romanticism. Maybe this was part of Chopin’s motivation in sanctioning chamber versions of his concertos.

Charles Rosen has pointed out:

To accompany another pianist with a reduction for a second piano of the orchestral score of one of these concertos is an interesting experience. When I did this once, I felt as if I were playing the accompanying continuo or figured-bass part for organ or harpsichord of a Bach cantata. Chopin made a lifelong study of Bach, and the results are perceptible in all his work.

This goes to the heart of Chopin’s music: his Romanticism was never about the illusion of unmediated spontaneity at the expense of formal coherence. Even his ‘miniatures’ are the product of rigorous design, which he had honed in these larger scale pieces.

All notes by Gordon Kerry

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David Rowden Clarinet / Artistic Director

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. Premieres George Palmer: Clarinet Concerto, Ian Munro: Clarinet Quintet, Nico Muhly: Unexpected News, Gordon Kerry: Clarinet Quintet. Selected Recordings Unexpected News: Nico Muhly and Philip Glass (ABC Classics), Omega Ensemble: Mozart—Munro—Palmer (ABC Classics), Play School 50th Anniversary Special (ABC). Awards/Study BMus (London), LRAM, Associate of the Royal Academy of Music (ARAM). David Rowden is a F. Arthur Uebel & D’Addario Artist and performs on F. Arthur Uebel “Zenit” 24K Mopane clarinets.

Sally Walker Flute

Orchestras Berlin Philharmonic, Leipzig Gewandhaus Orchestra, Kammerakademie Potsdam, City of Birmingham Symphony Orchestra, BBC National Orchestra of Wales, Australian Chamber Orchestra. Ensembles

Omega Ensemble, Shanghai String Quartet, Acacia String Quartet, Halcyon. Premieres Elena Kats-Chernin: 'Night and Now' Flute Concerto, Andrew Ford: Once Upon a Time there were Three Brothers…, Coco Nelegatti: Tres Temas Argentinas. Selected Recordings French Miniatures (Chartreuse), Hemispheres (Chartreuse), Kaleidoscope (Chartreuse), Waves II (Halcyon), ACO: Mozart’s Last Symphonies (ABC Classics), ACO: Heroines (ABC Classics), Women of Note (ABC Classics), Monday to Friday (Birdland). Awards/Study 2nd Prize Friedrich Kuhlau International Flute Competition, BMus (Sydney), Artist Diploma (Hanover), Masters (Munich). German Government Scholarship (DAAD), Ian Potter Foundation Cultural Award, Queens Trust Prize, Vice-Chancellors’ Award for Excellence in teaching (UON).

Clemens Leske Piano

Orchestras London Philharmonic Orchestra, Moscow Virtuosi, Guangzhou (Pearl River) Philharmonic, Australian Chamber Orchestra, Australian Youth Orchestra, Australian Doctors’ Orchestra, Sydney, Melbourne, Adelaide, Queensland, West Australian and Tasmanian Symphony Orchestras. Ensembles

FEATURED ARTISTS

David Rowden Sally Walker Clemens Leske

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Ensemble Offspring, Halcyon, Sydney Soloists, Moorambilla Voices, TrioKroma. Premieres Works of Australian composers Nicholas Vines, Graham Hair, Carl Vine, Rosalind Page, Larry Sitsky, Carl Panvino and Cyrus Meurant; works of Cuban composer Tania León. Selected Recordings Powerhouse: Soloist, Graeme Koehne: Capriccio for Piano & Strings (ABC Classics), Indigena: The Music of Tania León (CRI, New York), Cool Black: Chamber Works by Rosalind Page (Halcyon/Move Records), Omega Ensemble: Unexpected News (ABC Classic), Mao’s Last Dancer OST. Awards/Study Juilliard School, NYC, BMus. Hons., Hattori Foundation (London), Australia Council, Marten Bequest, Queen Elizabeth II Trust, Churchill Fellowship, David Paul Landa Scholarship, ABC Young Performer of the Year. Clemens Leske appears courtesy of Sydney Conservatorium of Music.

Alexandra Osborne Violin

Orchestras National Symphony Orchestra (DC), Philadelphia Orchestra, New York Philharmonic, Pittsburgh Symphony, The Philly Pops, Colorado Music Festival Orchestra, Chamber Orchestra of Philadelphia, Hawaii Youth Symphony, South Bend Symphony,

Sydney Symphony Orchestra, Melbourne Symphony Orchestra, Tasmanian Symphony Orchestra, Auckland Philharmonia, Gourmet Symphony, Eclipse Chamber Orchestra, SBS Radio & Television Orchestra. Ensembles Omega Ensemble, Australian Chamber Orchestra, Chamber Music Society of Lincoln Center, Jackson Hole Chamber Music, 21st Century Consort, The Last Stand Quartet, Philadelphia Chamber Music Society, Chiarina Chamber Players. Premieres Nico Muhly: Unexpected News, Nas “Illmatic” Live from the Kennedy Center, Michael Giacchino, Mason Bates Recordings Unexpected News: Nico Muhly and Philip Glass (ABC Classics), Dvorak and Copland: National Symphony Orchestra/Kennedy Center (NSO Live), Jon Deak’s The Passion of Scrooge (Jon Deak/Paul Moon), Medici TV Live Broadcasts Study/Awards Bachelor of Music (Curtis Institute of Music), Master of Music (The Juilliard School), Australian National Academy of Music, Michael Hill International Violin Competition, Symphony Australia Younger Performers Award, Gisborne International Music Competition, Sydney Symphony Young Artists, Geelong Costa Performer of the Year Concerto Competition, Ian Potter Cultural Trust, Marten Bequest,

Alexandra Osborne Anna Da Silva Chen Neil Thompson Paul Stender

FEATURED ARTISTS

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Australian Elizabethan Theatre Trust, Australian National Youth Concerto Competition

Anna Da Silva Chen Violin

Orchestras Sydney Symphony Orchestra, Adelaide Symphony Orchestra, Tasmanian Symphony Orchestra, Canberra Symphony Orchestra , Göttinger Symphonie Orchester Ensembles Omega Ensemble, Australia Piano Quartet, Selby & Friends, Ensemble Q. Awards/Study BMus Performance (Sydney Conservatorium of Music, USYD), MMus (Hochschule für Musik und Tanz, Cologne), Vienna International Music Competition (Silver), Kendall National Violin Competition (Winner), National Fine Music 102.5 Young Virtuoso Award (Winner), Australian National Youth Concerto Competition (Winner), Gisborne International Music Competition (Prize-Winner), ABC Young Performers Awards (Finalist).

Neil Thompson Viola

Orchestras Opera Australia Orchestra, Sydney Symphony Orchestra, Melbourne Symphony Orchestra, Adelaide Symphony Orchestra, Ku-Ring Gai Youth Orchestra (Director). Ensembles The Nano Symphony, Caro String

Quartet, Australian Chamber Orchestra, Omega Ensemble. Premieres Anthony Pateras: ‘Crystalline’ String Quartet, Nico Muhly: Unexpected News. Selected Recordings Omega Ensemble: Munro-Mozart-Palmer (ABC Classic), Omega Ensemble: Unexpected News (ABC Classic), Hive (Kammerklang), Night Air (Rue Arts). Awards/Study BMus (Honours) Elder Conservatorium Adelaide, ANAM (Full Scholarship), Australian Chamber Orchestra Emerging Artist, Sydney Symphony Orchestra Fellowship.

Paul Stender Cello

Orchestras Sydney Symphony Orchestra, Australian Chamber Orchestra, Australian Opera and Ballet Orchestra, ACO Collective (guest principal). Ensembles Australia Ensemble, Song Company, Burgundian Consort (guest soloist), Sculthorpe String Quartet. Selected Recordings Omega Ensemble: Munro-Mozart-Palmer (ABC Classics), Omega Ensemble: Unexpected News (ABC Classic). Awards/Study Canberra School of Music, Universität für Musik Wien

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SUPPORTERS

Brillante $20,000 +

Paradice Family Foundation

Maestoso $10,000 +

Mr Robert Albert AO & Elizabeth AlbertWayne Burns and Kean Onn SeeMr Geoffrey White OAM & Ms Sally White

Maestri $5,000 +

John ClaudianosBernard Coles QCDarin Cooper FoundationMr Stuart GlennChris, Ingrid and Daniel LathamJohn and Jo-Ann NegrineMs Stephanie Smee and Mr Paul SchoffThe Stokes FamilyBruce & Mary Anne TerryMs Alida Stanley and Mr Harley WrightMark Wakely in memory of Steven AlwardAnonymous (1)

Virtuosi $1,000 +

Australian Decorative and Fine Arts Society Sydney IncSam BallasNena BeretinMr David EmanuelPenelope FailesJohn FawcettSian GrahamJulie Hamblin and Martin KrygierBernadette HodgsonMrs WG Keighley - In memory of Keighley QuistDiccon and Liz LoxtonRobert McDougallMCS Group HoldingsCate Nagy and Cameron MooreDianne & Peter O'ConnellGeorge and Penny PalmerTimothy & Eva PascoeMr & Mrs Robert and Tessa PhillipsJustin and Jacqueline PlayfairJudith and Frank Robertson - In memory of Katherine RobertsonJenepher ThomasAnonymous (3)

Virtuosi $500 +

Geoff Applegate OBE & Sue GlentonLillian and Peter ArmitageElizabeth AveryTapas BasuOlivier Berckmans & Gloria AndrzejewskiAlan BlanchBernadette BrennanOfelia & Roberto BrozkyAlan & Phillippa ClarkJennifer DarinAnne DineenLisa EliasProfessor Zoltán H EndreLynden GallagherBeatrice MillerRichard and Alison MorganGaston NguyenPaul O'DonnellAdam PlayerDerek RecseiAnn and Quinn SloanRon & Judy SolomonJohn and Libby SnowdonMr & Mrs Tom and Dalia StanleyPaul StenderDr Anna Story

As a not-for-profit organisation, Omega Ensemble relies on the support of individuals to deliver our National Touring Program and outreach projects. We gratefully acknowledge the generosity of our community, including those who wish to remain anonymous.

For more information on becoming a supporter, visit omegaensemble.com.au/support

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Tony and Doffy WhiteHaitao YuAnonymous (2)

Virtuosi $250 +

Emeritus Professor Christine AlexanderAmanda Jane ArmstrongKate BeattieSheena Boughen and Bill CaldicottSusan BryantMr David Cervi & Ms Liz StrasserEste Darin-CooperErmes De ZanDonald-PickettSarah Elliott MurrayHeather FloodMs Julia FungBruce and Alison HandmerRobert and Lindy HendersonDr Andrea KrullerDiana LongSusie LowyNorman MackayKate MorganVicki & Sam NortonJ QuistMs Lyn ReynoldsWilliam SewellRobin SmithJohn StowellMr Robert Titterton OAMStella VaughanJulia WrightDavid YatesAnonymous (7)

Supporters

Jenny AbrahmsenSusanna AgardyMr Russell AshleyMr & Mrs Gary and Joanna BarnesMelonie Bayl-SmithCaroline BirchRhonda BlackDavid BeswickErica BookerColin BostonJohn BoultonJeremy BowkerGary BoyceJane BoydAnthony BrowellStephen BrownMargaret BuchananMercia BuckJohn ByrneJonathan CarlileChristina Caruana - In memory of Andy DraperPeter CassidyBrian ChattertonAnnabel ChongRadhiah ChowdhuryMr Richard CogswellGreg ColdicuttMegan CorletteAnastasia CoroneoJulia CottonMary CoupeRobert CoxDavid CrockerMary CrockMr & Mrs Robin and Wendy CummingAnn Dark

Cameron DavieRalph DavisMartin DennyGisela DoebbelerRebecca DooleyBrian DoyleStephen DraperKate EcclesCharles and Anne EdmondsonCarol Fenton-LeeKarin FindeisOtto FischerAnne FitzsimmonsMaria GarveyLouise GleesonNicolas GoodmanDebra GoodsirLyle GurrinBrad HaleJulie-Ann HamiltonJohn HamiltonMarjorie HamiltonJill HannanCatherine HastingsLiane HeinkeAnnemarie HennessyClaude HoKathleen HossackCathie HullPeter HutchingsJacqueline IlicFlorencia IrenaGlynis JohnsBeverley JohnsonAnna JoGar JonesGraham KellyRosamond KemberGordon Kerry

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Peter KyleMandy Lamkin - For MaryannAnn LeskeCatherine LucasPeter MaddoxBrian ManningMerilyn MarelElisabeth McDonaldJean McPhersonThomas MichaelSandra MilesRuth MitchellNatasha MitchellSteve MoffattBelinda MontgomeryKate MorganMichael Morton-Evans OAMDiana MurphyLynne NeilsonCarolyn NobleNoreen O’DonovanKate O'NeillDiane Openshaw - In Memory of Sean OpenshawDaniel OrmellaLenore OslandTrevor ParkinBeverley PhillipsD E Pidd

Mr & Mrs Terrance & Shirley PlowrightYvonne PrestonDeborah RandallThe Ransom FamilyEdward ReisStewart RieneckerTim RowseBenete SaugbjergKeith SaundersJane SheldonAnita SibritsDouglas SmithRobyn SmithTrevor SnapeAnnalisa SolinasAlice SpigelmanDianne StocksK M StrasserAlexander SymesProfessor Geoff and Renee SymondsNikki Flores and Amalie TabuteauEdward TheodoreJoceylyn ThompsonChristine TilleyMJ UnderwoodJohn Ure

John Vaughan and Margaret FoleyDiane VillaniElizabeth WaltonEmma WarburtonHoon Chee WhitwellMark WildeGerard WillemsRoss WilliamsMike WrightElizabeth YipAiqin ZhangAnonymous (15)

CoLAB Patrons

John ClaudianosDarin Cooper FoundationStephanie Smee and Paul SchoffMark Wakely

Total donations within the past 12 months. Details accurate at time of printing. All care has been taken to ensure the accuracy of this list. If you believe an omission or error has been made, please contact us at support@omegaensemble.com.au.

Leave a musical legacy

By including Omega Ensemble in your Will, you can create a lasting legacy that helps to support Australian artists, commission new music and enable future generations to access and engage with Australian musical excellence.

To request a Legacy Giving information pack, contact us at support@omegaensemble.com.au

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Hotel Partner

Government Partners

Education PartnersPresenting Partners

Supporting Partners

Omega Ensemble is supported by the NSW Government through CreateNSW

Foundation Partner

PARTNERS

BEHIND THE SCENES

Board Phillipa Birkett David Cervi Stuart Glenn (Acting Chair) Vicki Norton Alida Stanley David Rowden

Artistic Director David Rowden

General Manager David Boyce

With special thanks Elena Kats-Chernin; Gordon Kerry; Kate Britton, Kate L. Jeffery and the New Annual team; City of Newcastle; Cr Carol Duncan; Jordan Campbell, Lachlan Thomas and the Civic Theatre Newcastle team; Elizabeth Jigalin; Nicole Brady; Sean Maloney and Musiva Viva Australia; Valda Silvey, Malvina Tan, Lisa Finn Powell and The Joan Sutherland Performing Arts Centre team, JK Power and the Sydney Opera House team; Studio 301; Bob Scott.

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).

PHOTOGRAPHY POLICY

We encourage you to share your concert experience with friends and family, and personal photography (without a flash) is welcome. However, the light from your smartphone or camera can be distracting to others during performance, and so we ask you to not take photos while the Ensemble is playing. Instead, snap a photo when the Ensemble is taking a bow, or before or after the performance. Professional photography, flash photography or video is not permitted at any time.

And don't forget to tag us on Instagram: @omegaensembleau

THE ART OF CHAMPAGNESince 1836

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