{"id":23530,"date":"2017-07-29T18:38:16","date_gmt":"2017-07-29T08:38:16","guid":{"rendered":"http:\/\/soundslikesydney.com.au\/?p=23530"},"modified":"2017-07-29T18:38:16","modified_gmt":"2017-07-29T08:38:16","slug":"concert-review-schuberts-troutomega-ensemble","status":"publish","type":"post","link":"https:\/\/soundslikesydney.com.au\/?p=23530","title":{"rendered":"Concert Review: Schubert\u2019s Trout\/Omega Ensemble"},"content":{"rendered":"<figure id=\"attachment_23531\" aria-describedby=\"caption-attachment-23531\" style=\"width: 325px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-23531\" src=\"https:\/\/soundslikesydney.com.au\/wp-content\/uploads\/2017\/07\/Omega1-325x183.jpg\" alt=\"Omega Ensemble\" width=\"325\" height=\"183\" \/><figcaption id=\"caption-attachment-23531\" class=\"wp-caption-text\">Omega Ensemble<\/figcaption><\/figure>\n<p><em>Schubert&#8217;s Trout<\/em><\/p>\n<p><em>Omega Ensemble: \u00a0David\u00a0Rowden\u00a0(Co-Artistic Director and clarinet), Maria\u00a0Raspopova\u00a0(Co-Artistic Director and piano), Alexandra Osborne (violin),\u00a0Veronique\u00a0Serret\u00a0(violin), Neil Thompson (viola), Paul\u00a0Stender\u00a0(cello), Alex\u00a0Henery\u00a0(double bass), Ben\u00a0Hoadley\u00a0(bassoon), Michael Dixon (horn)<\/em><em>\u00a0<\/em><\/p>\n<p><em>27 July 2017,\u00a0<\/em><em>City Recital Hall, Angel Place<\/em><\/p>\n<p><em>Written by Larry Turner<\/em><\/p>\n<p>One of Schubert\u2019s best-loved works, the\u00a0<em>Trout<\/em>\u00a0Quintet (D.667), was voted number one in ABC-FM\u2019s Classic 100 Chamber Music survey in 2008. In the acoustics of the City Recital Hall which are well suited to the scale of chamber music performed by the Omega Ensemble, this classic was paired with Schubert\u2019s\u00a0<em>Octet (D.803)<\/em>\u00a0which is less frequently performed, probably because of the greater logistic challenges in assembling eight first-rate players on a range of different instruments.<\/p>\n<p>From the very beginning of their\u00a0<em>Trout<\/em>\u00a0performance, the Ensemble established an atmosphere of serenity, but one that hints at more complex emotions to come.\u00a0 Alexandra Osborne led powerfully and projected her sound strongly.\u00a0 She established sensible tempi and guided the emotional temperature as it rose and fell.\u00a0 The inner string parts were often unduly reticent, but in their more exposed passages Neil Thompson (viola) and Paul\u00a0Stender\u00a0(cello) each displayed an attractive tone and sensitive phrasing.\u00a0 Alex\u00a0Henery\u00a0(double\u00a0bass) played with great subtlety and refined phrasing while still providing a firm bass foundation. \u00a0Maria\u00a0Raspopova\u00a0(piano) displayed all the technical skill and expertise required of this often florid and difficult part, but her interpretation was rather literal.<\/p>\n<p>The popular \u2018variation\u2019 movement captured the natural innocence and naivety of the opening of the song.\u00a0 Schubert\u2019s design for this movement is unusual in that for each variation it is the setting that varies while the tune remains essentially unchanged.\u00a0 All the players have brief opportunities to shine as the tune is tossed backwards and forwards among them.\u00a0 Neil Thompson\u2019s viola variation was attractively played with a warm tone.\u00a0 Paul Stender\u2019s cello was poised and he produced a beautiful\u00a0cantabile.\u00a0 Alex Henery\u2019s double bass contribution was delivered with admirable delicacy while Maria Raspopova\u2019s filigree decoration scampered gleefully.\u00a0 This was a very enjoyable performance of a delightful work which the occasional slight differences of ensemble did not lessen.<\/p>\n<p>Although Schubert\u2019s\u00a0<em>Octet\u00a0<\/em>is heard less often than the\u00a0<em>Trout<\/em>\u00a0Quintet, it is by no means a lesser work.\u00a0 Lasting for a full hour, it encompasses a wide range of moods and emotions. \u00a0It was commissioned by Count Ferdinand von\u00a0Troyer\u00a0who was a steward at the court of Archduke Rudolf, a patron, pupil and friend of Beethoven.\u00a0 He was himself an amateur clarinettist so it is no surprise that the leading role in this work is shared between first violin (Alexandra Osborne) and clarinet (David\u00a0Rowden).\u00a0 The other new players making up the octet were\u00a0Veronique\u00a0Serret\u00a0(second violin), Ben\u00a0Hoadley\u00a0(bassoon) and Michael Dixon (horn) who played largely supportive roles.<\/p>\n<p>The ensemble immediately established the mood of gravity in the slow opening.\u00a0 This is soon supplanted by a more exuberant mood enlivened by the players\u2019 tight ensemble and fine balance.\u00a0 In the elegiac beginning of the second movement David Rowden\u2019s beautifully long-phrased\u00a0cantabile\u00a0playing magically created an atmosphere where time seems to stand still.\u00a0 The entire ensemble moved as one in the subtle expressive rubato in this excellent performance.\u00a0 The mood then changed rapidly in the jaunty scherzo which was notable for the ensemble\u2019s excellent rhythmic unity.<\/p>\n<p>As in the\u00a0<em>Trout<\/em>\u00a0<em>Quintet,<\/em>\u00a0the\u00a0<em>Octet<\/em>\u00a0includes a variation movement in which the less prominent instruments also have their moments in the limelight, confirming that they are all individually excellent players. \u00a0Together, they produced a\u00a0well balanced\u00a0sound with impressive unanimity.\u00a0 In the final movement, their tight ensemble was maintained throughout the exciting race to the conclusion.<\/p>\n<p><em>Larry Turner for\u00a0SoundsLikeSydney\u00a9<\/em><\/p>\n<p><em>Larry Turner is an avid\u00a0attender\u00a0of concerts and operas and has been reviewing performances for Sounds Like Sydney for several years.\u00a0 As a chorister for many years in both Sydney and London, he particularly enjoys music from both the great a capella period and the baroque.\u00a0 He has written programme notes for Sydney\u00a0Philharmonia, the\u00a0Intervarsity\u00a0Choral Festival and the\u00a0Sydneian\u00a0Bach Choir and is currently part of a team researching the history of Sydney\u00a0Philharmonia\u00a0for its forthcoming centenary.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Schubert&#8217;s Trout Omega Ensemble: \u00a0David\u00a0Rowden\u00a0(Co-Artistic Director and clarinet), Maria\u00a0Raspopova\u00a0(Co-Artistic Director and piano), Alexandra Osborne (violin),\u00a0Veronique\u00a0Serret\u00a0(violin), Neil Thompson (viola), Paul\u00a0Stender\u00a0(cello), Alex\u00a0Henery\u00a0(double bass), Ben\u00a0Hoadley\u00a0(bassoon),&hellip;<\/p>\n","protected":false},"author":1,"featured_media":23531,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[37],"tags":[],"sls_format":[],"class_list":["post-23530","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews"],"acf":{"deck":"","is_featured":false,"media_type":"standard","audio_embed":"","video_url":""},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Concert Review: Schubert\u2019s Trout\/Omega Ensemble - Sounds Like Sydney<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/soundslikesydney.com.au\/?p=23530\" \/>\n<meta property=\"og:locale\" content=\"en_US\" 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