The continuo layer in early music was that constant harmonic element, often involving a keyboard instrument. It spread out like a constant carpet beneath other instruments or voices. Elaboration within a structure was a feature and showcased the intelligence and skill of the continuo keyboard or continuo low string instrument.
Omega ensemble cleverly flipped the continuo concept in their recent concert, ‘Continuo’ at the excellent modern Pier 2/3 venue, The Neilson. Musicianship, virtuosity, an extemporised feel and tight ensemble interplay was on breathtaking display.
The link between the early music ensemble tradition and ensemble virtuosity with a highly modern accent emerged from the seven Omega instrumentalists.
Vatche Jambazian, Omega Ensemble pianist, switched to harpsichord for this event, further enhancing the link to the ‘continuo’ concept.
To celebrate this line up, the programme pivoted about a world premiere of Caroline Shaw’s Concerto for Harpsichord and Strings. This work, commissioned by Omega and three other parties, was a cross-period cross-stylistic treat, requiring a huge range of modern expressive gesture and considerable virtuosity of both single part and ensemble blend from the instrumentalists.
As in her other work on the programme, Entr’acte, Shaw’s compositional voice included layers of modern string effects. Many fragments were woven into the whole and challenged the ensemble with technical control and intricate passing of material or effects between the players.
Both works were delivered with intimacy, delicacy and an impressively well-nuanced playing despite the demands of the difficult minutiae within Shaw’s bold and unique pieces.
Complementing the ultra-modern twenty-first century works were moments reaching back into the popular early-music canon. And just when we thought we we going to hear conventional renditions of the Bach, Omega Ensemble members gave these references to the Baroque and Baroque musical classics a contemporary twist.
Paul Stender delivered a nicely augmented exploration of a Bach cello suite material in an elongated format. This modern meditation on the classic contour was a nicely measured and innovative prelude to this concert.
Vatche Jambazian’s meditation on the opening prelude from J S Bach’s Well-Tempered Clavier featured an elaborate improvisation on the material at it’s conclusion. It was a fitting retro interlude before the final work by Henryk Gorecki, his relentless virtuoso ensemble utterance, the Concerto for Harpsichord and Strings. This dazzling display had the audience gasping, cheering and stamping at the concert’s conclusion.
Above: Clarinettist David Rowden performed the ‘Sinfonietta No 2’ by Penderecki with the ensemble. Photo credit: Bruce Terry.
Clarinettist and Artistic Director, David Rowden joined the other six ensemble artists in a moving and beautifully balanced version of the Sinfonietta No 2 for clarinet and strings by Polish composer Krzysztof Penderecki.
Continuing this event’s theme of elaboration and beauty over a constant layer or foundation, Penderecki’s work in its final form expanded from the original Clarinet Quintet was a pleasing showcase for Rowden’s impressive range of control, expression and sustained clarinet voice.
This work lay at the concert’s soulful centre beside the world premiere work and was an impressive gem in a glistening, modern programme for harpsichord and several colourful layers above.
The programme concluded in a dazzling flash with another piece from the twentieth century, Henryk Górecki’s Concerto for Harpsichord and Strings (1940). This featured some dazzling but economical reiterations, led from the outset by the virtuosic harpsichord playing, supported and mirrored by the strings. This finale offfered a continuation of the precision witnessed earlier in the programme.
The assembled crowd followed the circular excellence of this work and reacted excitedly to it. Omega Ensemble’s cohesive realisation resulted in huge enthusiasm and huge ovations despite the event’s big, bold challenging and continuous dose of modern ingenuity. This compelling showcase for Omega musicians was a success and will be a jewel in its 2023 crown as ensemble members and faithful audience move through the year..
