Momentum Ensemble
Powered by the Australian Youth Orchestra

Since its conception in 2015, Momentum has been providing musicians with unique performance opportunities, helping them to develop skills outside of the traditional concert hall. Orchestral musicians are increasingly becoming required to undertake new and unusual assignments, and the Momentum project fills a vocational and training gap in this area for young musicians who are on the cusp of their professional careers.

Our Momentum Ensemble players reflect on their opportunities so far.


Momentum Ensemble with the Australian World Orchestra, July 2015
FLORA WONG Violin

“Having the opportunity to work with Simon Rattle during the AWO project was pretty mind-blowing! I’m very passionate about music education, and a part of this program involved working with some of the young kids from regional conservatories. We did a joint performance with them which was really fun. The best part of the experience was simply making music with a whole bunch of different people; whether it be fellow orchestral musicians, young children or the talented mentors and conductors that you get to work with.”


Momentum Ensemble with Ariel Zuckermann, Martha Marlow and William Barton – October 2015
SIANG CHING NGU Piano

“We had some very interesting repertoire to learn for this Momentum program. The piece by Melody Eötvös was very rhythmic and quite challenging, but I remember Ariel Zuckermann being very engaging and sensitive to his players, which made learning it very enjoyable. I made a lot of new friends on the program, some of which I continued playing with even once the program had finished! Getting to know other musicians and performing with a new group of people was definitely a highlight for me.”


 Photo: Instagram @bytheroadlesstravelled

Momentum Ensemble with Tamil Rogeon – 24 Hours in Lapa, April 2017
FREYA HOMBERGEN Horn

“It was really cool that Tamil was able to bring together these vastly different music scenes and make something so amazing. We performed at the Night Cat, which is a night club in Fitzroy, Melbourne. It was a tiny little stage in the centre of the room, and the audience was surrounding us. When the guest artists weren’t performing they would go offstage and join the crowd to dance along with everybody else; the atmosphere was really fun! It’s always great to do something different.”


Momentum Ensemble with Erin Helyard – Vivaldi’s La Stravaganza, April 2017
CHARLOTTE FETHERSTON Viola

“I was very impressed from the get go by the amazing energy that Erin Helyard brought to the ensemble. I’ve never had any Baroque training before, so Erin teaching us how to play in a Baroque style on a modern instrument made the music much more accessible to us. I think there are often two camps – either you’re a Baroque player or a modern player – but this program has taught me how to play in a style that allows me to use my own modern instrument in a much more informed way.”


                                                                                               

Momentum Ensemble with James Crabb and Julian Smiles – Seven Last Words, August 2017
ANDREW LEASK Cello

“I was very excited to work with Julian Smiles! Chamber music is the foundation of orchestral playing, and it was really great to have a guest artist with so much experience in both areas. I really enjoyed seeing him perform, and observing the kind of ideas he puts forth in his playing. I hadn’t really done much tango before, so it definitely helped to work with James Crabb from that perspective; he made the whole environment very relaxed. I really liked the repertoire as it was something very new and different for me.”


 Photo: Instagram @bytheroadlesstravelled

Momentum Ensemble with Ariel Zuckermann, world premiere of works by Cyrus Meurant and Melody Eötvös – Three Places, September 2017
EMMANUEL CASSIMATIS Oboe

“Three Places appealed to me initially because of the Haydn symphony; I’m a little bit of an early music lover! Ariel Zuckermann was fantastic to work with, and it was really refreshing to approach two new Australian compositions under his direction. I’ve never played with electronics before, so it was very exciting to see how the visuals, audio and orchestra melted together so nicely. The best thing about Momentum is that we’re all a bit older now. Many of the musicians have started playing with professional orchestras here and there, and it’s wonderful to see the professionalism come together with the youthful aspect.”


 

Friday 8th September, 2017