Australian World Orchestra Chamber Ensemble

Friday, 27 April 2018 at 8pm

Daniel Dodds (violin), Natalie Chee (violin), Sally Clarke (viola), David Berlin (‘cello), Francesco Celata (clarinet), Tamara-Anna Cislowska (piano)


Tickets for this concert can be purchased in advance



Mozart            Trio in E-flat major for clarinet, viola and piano, K 498, Kegelstatt

Brahms           Clarinet quintet in B minor, op 115

Schumann       Piano quintet in E-flat major, op 44

About the Artists

The Australian World Orchestra (AWO) brings together some of Australia’s most successful classical musicians now working around the world.  As well as symphonic performances, the AWO presents a series of chamber music concerts that showcase the exceptional talents of its musicians. We are fortunate that in 2018 one of those chamber music concerts will be presented for Sydney Mozart Society. Read more about the performers.

Programme Notes

Experience a concert of tender and deeply moving chamber music.  It begins with Mozart’s Kegelstatt t trio, a joyous expression of musical friendship. The mood changes with the autumnal beauty and mellowness of a clarinet quintet composed by an aging Brahms. Schumann’s piano quintet brings the concert to a close with its intensity, rich textures and passion. 

MOZART - Trio in E flat for clarinet, viola and piano, K 498, Kegelstatt

Andante/ Menuetto/ Rondeaux: Allegretto

The name ‘Kegelstatt’ was given to this trio because of a story – now discredited – that Mozart composed the trio during a game of skittles in a kegelstatt or bowling alley. The real facts of the trio’s origin are far more interesting and help to explain the warmth and intelligence of this work. Mozart wrote the trio in 1786. The unusual combination of clarinet, viola and piano reflects Mozart’s fondness for the viola and his deep interest in exploring the lyric qualities of the clarinet, then a relatively new instrument. Mozart dedicated the trio to Franziska Jacquin, his student and family friend. The first performance of the work was in the Jacquin home. Mozart’s friend Anton Stadler performed the clarinet part, Mozart himself took the viola part and Franziska Jacquin the piano. It was true chamber music, performed by friends in a genial family home. 

The trio opens with a gentle andante movement that has the feel of an intelligent and complex conversation between the three instruments. There is great warmth and elegance in the blending of the clarinet and viola voices.

The second movement has the grace that we expect of a minuet dance form. But there are moments of seriousness and complexity, particularly from the rich alto voice of the viola, giving the movement an emotional and musical depth

The third movement is a seven part rondo, structured AB–AC–AD–A. While the clarinet plays the principal theme, the piano and viola are equal partners with their own virtuoso passages. The final return of the clarinet is dazzling. Alfred Einstein describes the closing passages as  ‘a distillation of melodic and contrapuntal beauty that does not merely satisfy the listener but leaves him enchanted!’

                                                                                                                           C. B.

BRAHMS - Clarinet quintet in B minor, op 115

Detailed programme notes for this  work will be available closer to the concert date.


SCHUMANN -  Piano Quartet in E flat, op 44

Allego brillante/ In modo d’una marcia. Un poco largamente – Agitato / Scherzo: Molto vivace / Finale: allegro ma non troppo

Schumann completed the initial draft of his piano quintet in E flat in just five days and completed the score at the beginning of October, 1842. The quintet, which is the first work ever written for a string quartet combined with a piano , is probably Schumann’s best known chamber work.

The Composer’s personal state at the time is apparent as much through the fresh, positive opening statement as through the warm, lyrical, second theme. The second movement, a C minor rondo in sonata form, is entirely different, being built around a solemn march, which is quite similar in character, form and tonality to the funeral march of Beethoven’s Eroica symphony. In this case, however, the sombre mood is relieved by the two appearances of the second subject in a minor key.

The main theme of the scherzo is not much more than an ordinary scale; the rhythms of the ascending and descending scales, however, are so craftily varied that one has difficulty in detecting where the beat falls. The scherzo is unusually extended by the inclusion of two trio sections.

To conclude the work, the energetic finale combines both sonata and rondo forms and culminates in a coda that is in fact, an ingenious double fugue.

                                                                                                                         M. C.