OM’s artist-in-residence for the 23-24 season, Austrian virtuoso Andreas Ottensamer will conduct a spellbinding Romantic repertoire, accompanied by French clarinet poet Pierre Génisson.
Following Brahms’s melancholic Tragic Overture and lyrical Concerto No. 1, the stage is set for hope and sensuality. Augusta Holmès’s symphonic poem La Nuit et l’amour, recalling Wagner, was written in the Romantic style with an emphasis on melody. Finally, Schumann’s first symphony, also known as the Spring Symphony, evokes flowers and colours in bloom.
In his journal, this is how Schumann described the young composer, Johannes Brahms, who left a strong impression on him. Brahms came to Schumann’s home to play some of his compositions and the couple befriended him immediately. Their support was pivotal in Brahms’s career.
Though he was younger than his mentor, Brahms was more attached to earlier musical forms. He mastered these Classical structures better than all his contemporaries. But while his music was as well constructed as those of Classical composers like Mozart or Haydn, it remained invigorating, lyrical and intense. Brahms was definitively a Romantic composer, like Schumann.
Two sides of the coin
Brahms had the habit of composing two contrasting works at the same time—one joyful and the other melancholic, for example. After writing the Academic Festival Overture in 1880, a festive work based on student songs, he composed a piece that was diametrically opposed. “I could not refuse my melancholy nature the satisfaction of composing an overture for a tragedy,” he wrote.
Brahms insisted that the term “Tragic” does not refer to a theatrical or literary work. It’s pure music, in the greatest Brahmsian tradition.
The piece is written in sonata form, the quintessential structure of the second half of the 18th century: exposition with two themes, development of the themes’ contrasting melodies and recapitulation. The work then concludes with an extravagant coda.*
Clarinet Concerto No. 1 (arr. for orchestra by Butorac)
Putting pen to paper.
After announcing in 1890 that he was retiring from composing, Brahms heard the famous clarinetist, Richard Mühlfeld. Impressed by his prodigious talent and charmed by the instrument’s smooth sound, he put pen back to paper and didn’t hold back! He wrote a trio, quintet and two sonatas for clarinet and piano.
These sonatas were the composer’s final chamber works, written at the age of 61. Once again, Brahms composed in contrasting pairs: the first sonata was in a minor key, and the second in a major key. He wrote expansive, lyrical and brilliant themes for the clarinet, which were surely inspired by Mühlfeld’s great talent.
In the 20th century, Italian composer Luciano Berio was particularly interested in Sonata No. 1, and arranged the piano part as an orchestral accompaniment for the clarinet. This concert will feature an even more modern arrangement of the piece by the young composer Darko Butorac.
Suggested Gallimard readings to enhance your experience:
During her lifetime, Augusta Holmès was very successful, but like many of her contemporaries, the pianist and composer was forgotten after her death.
The bold composer refused to be limited to writing feminine salon pieces, and was determined to produce grandiose symphonic and lyrical works normally reserved for men. In addition, she published under her own name—women often used male pen names at the time to avoid discrimination—and she retained full ownership of her work.
Born in Paris to a music-loving Irish family, young Augusta was a gifted pianist and singer who took to composition quickly. Her work was performed in some of the biggest concert halls, earning admiration from her male colleagues like Franz Liszt and César Franck.
Augusta Holmès was known for her patriotic music. La nuit et l’amour is a symphonic interlude taken from Ludus pro patria (patriotic games), a symphonic ode she composed in 1888 in honour of France.
Her most well-known work today is her Christmas song, Trois anges sont venus ce soir, popularized by Tino Rossi at the end of the 1930s.
Andreas Ottensamer has captured audiences and critics alike with his distinct musicianship and versatility as clarinetist, artistic director and conductor.
Ottensamer is considered one of the leading instrumentalists of our time and performs as a clarinet soloist in the major concert halls around the world with orchestras such as the Berlin Philharmonic, the Vienna Philharmonic, the Mahler Chamber Orchestra, the London Philharmonic, the Seoul Philharmonic and the Netherlands Philharmonic under Mariss Jansons, Sir Simon Rattle, Andris Nelsons, Yannick Nezet-Seguin, Daniel Harding and Lorenzo Viotti.
He is a regular guest artist at festivals such as the Salzburger Festspiele, the Gstaad Menuhin Festival, the Rheingau Musik Festival and the Festival de Pâques d’Aix en Provence.
In 2021 Ottensamer gave his debut as a conductor and has been awarded the Neeme Järvi Prize of the Gstaad Festival Conducting Academy.
In the season 2022/23 he made his Asian conducting debut with the Tokyo Symphony Orchestra and Seoul’s KBS Symphony Orchestra and worked with orchestras such as the MDR Sinfonieorchester Leipzig, the Prag Philharmonia, the Orquestra Gulbenkian in Lisbon, the Istanbul State Symphony Orchestra, the Real Philharmonia Galicia and the Orchestre Symphonique de Mulhouse. In the season 23/24 Andreas Ottensamer will return to conduct the Tokyo Symphony Orchestra as well as the Istanbul State Symphony Orchestra and give his debuts with the NHK Symphony Orchestra, the Seoul Philharmonic, the Orchestre Metropolitain Montreal, the Theater Erfurt, the Kammerorchester Zurich, the Münchner Kammerorchester and the Kammerorchester Basel.
Ottensamer is artistic director of the Lotte Festival in Seoul, Korea and the Bürgenstock Festival in Switzerland.
His artistic partnerships as a chamber musician include work with Yuja Wang, Seong-Jin Cho, Lisa Batiashvili, Patricia Kopatchinskaja, Phillippe Jaroussky, Gautier Capuçon and Sol Gabetta.
Andreas Ottensamer has an exclusive recording partnership with Deutsche Grammophon since 2013, making him the first ever clarinetist on the Yellow Label. For his album Blue Hour, featuring works of Weber, Mendelssohn and Brahms, he partnered with the Berlin Philharmonic under Mariss Jansons and received his second Opus Klassik award as “Instrumentalist of the year”. Together with Yuja Wang and Gautier Capucon he has recorded Brahms’ clarinet trio, released with DG in September 2022.
Andreas Ottensamer was born in 1989 in Vienna. He comes from an Austro-Hungarian family of musicians and was drawn to music early, receiving his first piano lessons when he was four. At the age of ten he began studying cello at the University of Music and Performing Arts Vienna, then changed to the clarinet in 2003.
In 2009 he interrupted his Harvard undergraduate studies to become a scholar of the Orchestra Academy of the Berliner Philharmoniker.
Ottensamer studied conducting with Professor Nicolas Pasquet (Weimar) and has taken masterclasses with Maestri Riccardo Muti and Jaap van Zweden and Professor Johannes Schlaefli (Zürich). He has assisted Maestro Francois-Xavier Roth with the London Symphony Orchestra.
Since March 2011, Ottensamer has held the position of principal clarinetist with the Berlin Philharmonic Orchestra.
Born in 1986 in Marseille, Pierre GENISSON is one of the best representatives of the French wind school. Winner of the prestigious Carl Nielsen International Competition, he won the 1st Prize and the Audience Prize at the Jacques LancelotInternational Competition in Tokyo. His records released under the Aparté label have been widely recognized by international critics (Diapason d’or, Choc de l’année by Classica, ffff by Télérama, “CD of the week” by the Sunday Times, Gramophone, Clef d’Or by Resmusica…). He is now an exclusive Warner classics artist for whom he will release a Mozart CD in 2023.
Pierre GENISSON trained at the CNSM in Paris with Michel Arrignon for clarinet, Claire Désert, Amy Flammer and Jean Sulem for chamber music. After having obtained the first prizes unanimously in these two disciplines, he went to perfect his skills at the University of Southern California in Los Angeles with Yehuda Gilad where he obtained an Artist Diploma.
Pierre Genisson is regularly invited to perform as a soloist with many orchestras such as the Deutsches Symphonie Orchester- Berlin, the Tokyo Philharmonic Orchestra, BBC orchestras, Odense Symphony Orchestra, Sichuan Symphony, Trondheim Symphony Orchestra, Jyvaskyla Symphony orchestra, Orchester Philharmonique Royal de Liège, the Düsseldorf Symphony Orchestra… and collaborates in particular with conductors such as Krystof Urbansky, Olari Elts, Darell Ang, Sacha Goetzel, Krysztof Penderecki, Alexandre Bloch, Lionel Bringuier… Passionate about chamber music, Pierre Génisson multiplies musical encounters, notably with many string quartets (Ebène, Modigliani, Jerusalem, Zemlinsky, Hermès, Voce, Van Kuijk…), soloists such as David Kadouch, Renaud Capuçon, Claire Désert, Franck Braley, Michel Dalberto, Natacha Kudritskaya , Florent Boffard, Alexander Sitkovetsky, Geneviève Laurenceau, Marc Bouchkov, Pierre Fouchenneret, Victor Julien Lafferière, François Salque, The Soloists of the Metropolitan Opera of New York, David Bismuth, Nicolas Dautricourt, Marielle Nordmann, Emmanuel Ceysson, Adrien Boisseau, Francois Dumont, Karine Deshayes, Delphine Haidan.
Pierre GENISSON has a keen interest in musical creation and regularly collaborates with many composers such as Thierry Escaich, Karol Beffa, Philippe Hersant, Tristan Murail or Eric Montalbetti…. He is the dedicatee of the Concerto for clarinet by Eric Tanguy. Active ambassador of the Buffet Crampon brand, he is invited to give numerous masterclasses in Europe, Asia, USA, Canada, Mexico and he teaches at the Ecole Normale de Musique in Paris. The Academy of Fine Arts of the Institut de France awarded him the “Cino del Duca” interpretation prize in 2018 and he is also a laureate of the Banque Populaire, Safran, and “Music and Wine at Clos Vougeot” Foundations.
In 2020, Pierre GENISSON has recorded in London, with the BBC Concert Orchestra, a CD devoted to Benny Goodman including jazz standards by the famous American composer and jazzman as well as pieces by Copland, Gershwin and Stravinski created by Goodman. Now an exclusive Warner classics artist, Pierre Genisson will release a recording of Mozart’s Clarinet Concerto in 2023 with Concerto Köln ensemble.
Yukari Cousineau, Principal
Oleg Larshin, Associate Principal
Johanne Morin, Assistant Principal
Nancy Ricard, Principal
Dominic Guilbault, Associate Principal
Lucie Ménard, Assistant Principal
Jean Ai Seow
Pierre Tourville, Principal
Julie Dupras, Associate Principal
Brian Bacon, Assistant Principal
Christopher Best, Principal
Julien Siino, Associate Principal
Agnès Langlois, Assistant Principal
René Gosselin, Principal
Marc Denis, Associate Principal
Gilbert Fleury, Assistant Principal
Jocelyne Roy, Principal Flute
Caroline Séguin, Principal Piccolo
Kirsten Zander, Principal
Simon Aldrich, Principal
Michel Bettez, Principal
Louis-Philippe Marsolais, Principal
Antoine Mailloux, Principal
Patrice Richer, Principal Trombone
Trevor Dix, Principal Bass Trombone
Alain Cazes, Principal
Julien Bélanger, Principal
Alexandre Lavoie, Principal
Robin Best, Principal
Thank you to all our donors who make it possible for our musicians to perform on stage.
Cookies used to personalize the online user experience
We use Google Analytics to better understand our users’ Web preferences and interests.
We use the Meta Pixel and the Linkedin Insights Tag to better personalize our ads. These cookies are used solely by OM through these platforms and will not be shared with any other third parties.