Music / “Ex Machina”, Omega Ensemble. At Ainslie Arts Centre, October 28. Reviewed by ROB KENNEDY.

DURING a concert of six complex and technically demanding musical works, Omega Ensemble played like a musical machine moving at a stupendous pace.

In its first performance in Canberra for 10 years, the players in Omega Ensemble were David Rowden, clarinet and artistic director; Alexandra Osborne, violin; Peter Clark, violin; Neil Thompson, viola; Paul Stender, cello and Vatche Jambazian, piano.

Beginning with “Aheym”, by the American composer of film and concert hall music Bryce Dessner, this piece is a grand achievement for a string quartet. Driving highly rhythmic patterns on all four instruments blasts this music into life. A repetitive line soon took over on the cello as others pizzicato. Agitated, evocative and performed with sensational clarity, it was modern. powerful music. With the three top voice performers standing, this added to the pushing dynamic and highly rhythmic style.

Missy Mazzoli’s “Harp and Altar”, is based on a 1930 collection of poems celebrating the Brooklyn Bridge. Sounding like four individual voices, the music slid through a complex soundscape. Partway through a human voice could be heard. A male singer, seemingly out of nowhere, sang a song over the quartet; a recording, echoing the words of a poem. Then what could have been a choir entered, almost swamping the quartet. When the players stopped, the choir faded it out. Highly original.

In three movements, the world premiere of “Nervous Systems”, by Grammy-nominated composer Chris Cerrone. Immersed in thick textures, it carried a dramatic impact throughout. With clarinet added to the quartet, Cerrone’s pulsing music set out its heartbeat rhythm.

As the lead part went from cello to clarinet, that pulse underneath remained. This moved into a swirling soto voce part for some strings, as others produced short sliding crescendos with the clarinet echoing. This being the second part. The final part moved in a new direction, which was hard to describe. Perhaps more effect than music, it still pleased and entertained.

For string trio, clarinet and piano, “Zero Sum Game”, by Australian composer Alex Turley followed. With a title sounding like a movie or computer game, this could have been the soundtrack to a tense or chase scene. Abundantly inventive sounds in short dynamic bursts got the heartbeat racing. Within, beautiful music swelled out, accompanied by beautiful playing. Highly visual, ethereal, ever-changing but following a theme, it told a moody and colourful story.

With all six performers on stage, came the world premiere of “Measured to Fit”, by Nico Muhly. Omega commissioned it to push the ensemble to its limits. This restless, staccato-filled piece, composed with freshness and vitality, made it the most exciting work on the program.

This is well-thought-out music. It crossed moods and shades. While almost untouchable, it felt so alive. Along with the incredible playing, it was exhilarating.

For the final work, Aaron Copland’s “Sextet”. As a symphony, players said it was too difficult to perform. As a sextet, it didn’t sound any easier. Copland’s sextet is as bright and demanding as it was in 1937 when composed. This compelling work has influenced many contemporary composers.

Even through its quieter moments, it doesn’t let up. It maintained its tension through plaintive and moderate sections. At times, it screamed out passion and heartache, and then, that modern American sound. Reflected in this music, the bustle of a new American life, which still sits well in the ear. Its orchestral qualities shone through.

The string players tore through many hairs on their bows. Every player raised a sweat in this electric concert. More please, and soon.