Orion Ensemble Debuts New Work by Champion Alongside Beethoven and Arensky

The Orion Ensemble will showcase its core musicians—Kathryne Pirtle, clarinet; Florentina Ramniceanu, violin; Diana Schmück, piano; and Judy Stone, cello—on the third concert program of its 33rd season. Performances take place at three venues: New England Congregational Church in Aurora, including a post-performance Spring Benefit (March 8), PianoForte Studios in Chicago (March 9) and Nichols Concert Hall in Evanston (March 15), where Orion is a Resident Ensemble. 

The program features a world premiere Orion commission, its first work by young Chicago composer Ephraim Champion (below). His compositions, which span stage and screen, have been heard in Asia, Europe and the U.S. Highlights include “Scenes from South Shore, Chicago,” premiered by Gaudete Brass; “All Things Sublime and Colossal” for the vocal ensemble La Caccina; “A Stone of Hope (Martin's Song)” for the Music Institute of Chicago; and music for two short films: “Girls in the Back of the Club” and “Rejection is God's Protection.” He recently completed his first symphonic sketch, “Sonder and Ozurie,” premiered by the Chicago Composers Orchestra. 

Beethoven's Trio in B-flat Major for Clarinet, Cello and Piano, Op. 11 is a favorite of Orion audiences, as well as audiences during his lifetime. One of the earliest works for this combination of voices, this trio highlights the strengths of each instrument while exploring new possibilities as the three different sonorities come together. The first movement, in typical sonata form, is full of energy; the second is beautifully lyrical; and the third is a lively set of variations on an opera tune from The Corsair by Joseph Weigel. 

At age 33, Anton Arensky composed one of his most monumental efforts, Piano Trio in D Minor, Op. 32, in memory of the cellist Davidov, who was director of the St. Petersburg Conservatory when Arensky attended as a teen. The work highlights Arensky's ability to create lively rhythmic energy, virtuosic keyboard textures and elegiac songs. The first and last movements each have multiple themes—some in a strong “Russian” character, others more suave and “French.” The second movement Scherzo uses a salon-style melody in its trio. The hauntingly beautiful third movement Elegia lightens in character in its major-key middle section. The Finale begins tempestuously, with strings and piano spurring each other on, but has a tender second theme that wears different garb, in terms of instrumentation and accompaniment, each time it returns. Hints of themes from the first and third movements precede the Finale's lively coda. 

Following the opening performance March 8, Orion hosts its Spring Benefit reception at the concert venue, the New England Congregational Church in Aurora. Guests can enjoy hor d'oeuvres and refreshments and mingle with the musicians and supporters. 

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