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Classical

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Enescu, SchumannViolin Sonatas

Dello JoioConcert Suite

Ka Wong, violinKaren Smithies, piano

Ka Wong, Violin

Ka Wong studied violin in China (Shanghai and Macao), Portugal and Australia where his teachers were Zheng Shisheng, Jack Glazer and Jan Sedivka. He receives regular conducting training from the renowned conductor Myer Fredman.

First prizewinner of First Macao Youth Music Competition, Ka Wong has been actively involved in music teaching, has been lecturer of violin at the Macao Conservatory for ten years (1993–2003) and guest chamber music lecturer at the Sichuan Conservatory of Music, China (2004).

As a solo violinist and chamber musician, Ka Wong has played throughout Portugal, Spain, China (Beijing, Shanghai, Chengdu, Hong Kong, Macao) and Australia. He has appeared as a soloist in various festivals, namely the Fifth Macao Arts Festival (1994), International Early Music Festival (Lisbon, 1995), Fifth China Arts Festival (Chengdu, 1997) and Overseas Chinese Festival (Shanghai, 1998). He has been invited to perform for the former Portuguese President Mario Soares in 1995. Ka Wong is the co-founder of the Macao Piano Trio (1995) as well as the Macao Youth Symphony Orchestra and has organized the Macao Youth Symphony Orchestra to participate in the Itzhak Perlman Leads 3000 Young String Players in Concert performance in August 2002. Aside from organizing performances, Ka Wong has also conducted two collaboration concerts in 2006, with the SBS Radio Broadcasting Youth Orchestra and the Macao Youth Symphony Orchestra in both Hong Kong and Macao.

Ka Wong’s orchestral leadership experience includes: Assistant Concertmaster of Macao Symphony Orchestra (1994), Concertmaster of European Baroque Music Youth Orchestra (1997), Acting Second Violin Principal of Macao Chamber Orchestra (2000) and Guest Concertmaster of Hobart Chamber Orchestra (2006). He has also performed with Lisbon Radio Symphony Orchestra in Portugal, Shanghai Symphony Orchestra, Shanghai Broadcasting Radio Symphony Orchestra, Guangzhou Symphony Orchestra, Hong Kong Sinfonietta, Hong Kong Soloists and the Tasmanian Symphony Orchestra.

By invitation of the Central Conservatory of Music (Beijing) in April 2007, Mr. Wong has successfully conducted the EOS Orchestra Academy of the Central Conservatory of Music (Beijing) in an All-Beethoven Symphony Concert and has given a one-week orchestral master class to the students of the Central Conservatory of Music.

He has been appointed orchestral tutor of the Australian International Symphony Orchestra Institute since 2006.

Ka Wong, Violin

Ka Wong studied violin in China (Shanghai and Macao), Portugal and Australia where his teachers were Zheng Shisheng, Jack Glazer and Jan Sedivka. He receives regular conducting training from the renowned conductor Myer Fredman.

First prizewinner of First Macao Youth Music Competition, Ka Wong has been actively involved in music teaching, has been lecturer of violin at the Macao Conservatory for ten years (1993–2003) and guest chamber music lecturer at the Sichuan Conservatory of Music, China (2004).

As a solo violinist and chamber musician, Ka Wong has played throughout Portugal, Spain, China (Beijing, Shanghai, Chengdu, Hong Kong, Macao) and Australia. He has appeared as a soloist in various festivals, namely the Fifth Macao Arts Festival (1994), International Early Music Festival (Lisbon, 1995), Fifth China Arts Festival (Chengdu, 1997) and Overseas Chinese Festival (Shanghai, 1998). He has been invited to perform for the former Portuguese President Mario Soares in 1995. Ka Wong is the co-founder of the Macao Piano Trio (1995) as well as the Macao Youth Symphony Orchestra and has organized the Macao Youth Symphony Orchestra to participate in the Itzhak Perlman Leads 3000 Young String Players in Concert performance in August 2002. Aside from organizing performances, Ka Wong has also conducted two collaboration concerts in 2006, with the SBS Radio Broadcasting Youth Orchestra and the Macao Youth Symphony Orchestra in both Hong Kong and Macao.

Ka Wong’s orchestral leadership experience includes: Assistant Concertmaster of Macao Symphony Orchestra (1994), Concertmaster of European Baroque Music Youth Orchestra (1997), Acting Second Violin Principal of Macao Chamber Orchestra (2000) and Guest Concertmaster of Hobart Chamber Orchestra (2006). He has also performed with Lisbon Radio Symphony Orchestra in Portugal, Shanghai Symphony Orchestra, Shanghai Broadcasting Radio Symphony Orchestra, Guangzhou Symphony Orchestra, Hong Kong Sinfonietta, Hong Kong Soloists and the Tasmanian Symphony Orchestra.

By invitation of the Central Conservatory of Music (Beijing) in April 2007, Mr. Wong has successfully conducted the EOS Orchestra Academy of the Central Conservatory of Music (Beijing) in an All-Beethoven Symphony Concert and has given a one-week orchestral master class to the students of the Central Conservatory of Music.

He has been appointed orchestral tutor of the Australian International Symphony Orchestra Institute since 2006.

Karen Smithies Piano

Karen Smithies completed her Masters Degree in Performance in 2002 at the Tasmanian Conservatorium of Music, studying with Beryl Sedivka. She graduated from Sydney Conservatorium of Music in 1995 with a Bachelor of Music, majoring in Accompaniment and Performance and studying with David Miller, Gerard Willems, Lyall Duke and Margaret Hair. Upon completion of that degree Karen received the “Mollie Neal” scholarship for Accompaniment.

In 2000 Karen featured in three ABC Classic FM live broadcasts performing Janacék’s Violin Sonata with Marina Phillips, Mendelssohn’s Trio No. 1 for Violin, Cello and Piano with Marina Phillips and Christian Wojtowicz and as accompanist to the Tasmanian Symphony Orchestra Brass Ensemble. An active soloist, chamber musician and accompanist, Karen currently lectures in accompaniment at the University of Tasmania, Conservatorium of Music.

Karen Smithies Piano

Karen Smithies completed her Masters Degree in Performance in 2002 at the Tasmanian Conservatorium of Music, studying with Beryl Sedivka. She graduated from Sydney Conservatorium of Music in 1995 with a Bachelor of Music, majoring in Accompaniment and Performance and studying with David Miller, Gerard Willems, Lyall Duke and Margaret Hair. Upon completion of that degree Karen received the “Mollie Neal” scholarship for Accompaniment.

In 2000 Karen featured in three ABC Classic FM live broadcasts performing Janacék’s Violin Sonata with Marina Phillips, Mendelssohn’s Trio No. 1 for Violin, Cello and Piano with Marina Phillips and Christian Wojtowicz and as accompanist to the Tasmanian Symphony Orchestra Brass Ensemble. An active soloist, chamber musician and accompanist, Karen currently lectures in accompaniment at the University of Tasmania, Conservatorium of Music.

Robert Schumann (1810-1856)Violin Sonata No.1 in A minor, Op. 105Mit leidenschaftlichem AusdruckAllegretto Lebhaft

German composer Robert Schumann composed his Violin Sonata in A minor, Op. 105 during his tenure as conductor in Dusseldorf in 1851. This was substantially later than when he composed his better-known chamber works, such as his Piano Quintet, Piano Quartet and the three String Quartets. Violin Sonata in A minor presents a different set of challenges than the earlier works by the composer. Its first movement, marked Mit leidenschaftlichem Ausdruck (with passionate expression), is characterized by an undulating semiquaver figuration and unfolds with great flow of emotion and activity. The development is concise and is concerned almost exclusively with the opening motive. The agitation evident in the closing bars of the first movement is contrasted with the gentle, intimate character of the second movement, Allegretto. This movement features a dialogue between contrasting musical ideas; one built on a delicately descending, syncopated motion, the other more energetic and decorated with embellishment. The final movement, Lebhaft (Lively), has a perpetual motion and concludes the Sonata with feelings of indecisiveness. It has been suggested by some theorists that this tension demonstrates Schumann’s effort to “honestly explore the depths of his own increasingly agitated and complex mind.”

Robert Schumann (1810-1856)Violin Sonata No.1 in A minor, Op. 105Mit leidenschaftlichem AusdruckAllegretto Lebhaft

German composer Robert Schumann composed his Violin Sonata in A minor, Op. 105 during his tenure as conductor in Dusseldorf in 1851. This was substantially later than when he composed his better-known chamber works, such as his Piano Quintet, Piano Quartet and the three String Quartets. Violin Sonata in A minor presents a different set of challenges than the earlier works by the composer. Its first movement, marked Mit leidenschaftlichem Ausdruck (with passionate expression), is characterized by an undulating semiquaver figuration and unfolds with great flow of emotion and activity. The development is concise and is concerned almost exclusively with the opening motive. The agitation evident in the closing bars of the first movement is contrasted with the gentle, intimate character of the second movement, Allegretto. This movement features a dialogue between contrasting musical ideas; one built on a delicately descending, syncopated motion, the other more energetic and decorated with embellishment. The final movement, Lebhaft (Lively), has a perpetual motion and concludes the Sonata with feelings of indecisiveness. It has been suggested by some theorists that this tension demonstrates Schumann’s effort to “honestly explore the depths of his own increasingly agitated and complex mind.”

George Enescu (1881–1955)Violin Sonata No. 3 in A minor, Op. 25Moderato malinconicoAndante sostenuto e misteriosoAllegro con brio ma non troppo mosso

George Enescu deliberately embedded exotically folk-Romanian character into his Violin Sonata No. 3 in A minor, Op. 25 and named it as “dans le caractére populaire roumain” (In the Popular Romanian Style). He borrowed Gypsy violin techniques to create his themes and used quarter tones and chromatic modes to weaken and obscure the tonality of the piece, thus opening the door for clever harmonic and melodic invention. He put specific bowing marks and ornaments in the score for the violinist to imitate authentic Gypsy music as well as making the pianist imitate the sound of the cimbalom. The Sonata is carefully constructed in three movements. The first, Moderato malinconio, is in sonata-allegro form and based on two contrasting subjects: the first a lament, the second much more animated. The opening of the second movement, Andante sostenuto e misterioso, features quietly repeated notes in the piano, on top of which the violin plays a long passage in harmonics. A dark atmosphere is then presented with occasional dramatic passages. The final Allegro con brio, ma non troppo mosso is a rondo with a march-like subject, which breaks down into something more of a dance or improvisation through various episodes. The work ends with a series of harsh chords and a final, conclusive flourish by the violin.

George Enescu (1881–1955)Violin Sonata No. 3 in A minor, Op. 25Moderato malinconicoAndante sostenuto e misteriosoAllegro con brio ma non troppo mosso

George Enescu deliberately embedded exotically folk-Romanian character into his Violin Sonata No. 3 in A minor, Op. 25 and named it as “dans le caractére populaire roumain” (In the Popular Romanian Style). He borrowed Gypsy violin techniques to create his themes and used quarter tones and chromatic modes to weaken and obscure the tonality of the piece, thus opening the door for clever harmonic and melodic invention. He put specific bowing marks and ornaments in the score for the violinist to imitate authentic Gypsy music as well as making the pianist imitate the sound of the cimbalom. The Sonata is carefully constructed in three movements. The first, Moderato malinconio, is in sonata-allegro form and based on two contrasting subjects: the first a lament, the second much more animated. The opening of the second movement, Andante sostenuto e misterioso, features quietly repeated notes in the piano, on top of which the violin plays a long passage in harmonics. A dark atmosphere is then presented with occasional dramatic passages. The final Allegro con brio, ma non troppo mosso is a rondo with a march-like subject, which breaks down into something more of a dance or improvisation through various episodes. The work ends with a series of harsh chords and a final, conclusive flourish by the violin.

Norman Dello Joio (1913–2008)Colloquies: Concert Suite for Violin and PianoLento expressivoAllegro molto e leggieroAdagio, mestoPresto spumanteAdagio tranquilloMolto animato, con ruvidezza

The American composer and educator Norman Dello Joio became active as a professional musician in the 1920s and remained a prominent figure in the cultural landscape of his country throughout the twentieth century. Dello Joio was taught to play the organ at an early age by his father and godfather, who were both skilled organists. By age 14, he was appointed organist at the Star of the Sea Church in New York. The traditional Catholic liturgical music the Dello Joio was exposed to at this time made a lasting impression on the young composer. His studies at the Juilliard School (1939–1941) and with Hindemith (1941) were also vital in shaping his personal compositional style and a musical language, which effectively fuses the worlds of Italian opera, liturgical music and jazz. In general, Dello Joio’s compositions are colorful, extroverted and well crafted. The accessibility of his style has earned him many awards and the respect of a wide audience; however, many musicologists criticized his music for being too accessible and did not consider him a serious composer. Dello Joio composed his Colloquies: Concert Suite for Violin and Piano in 1963. The work contains six small movements with distinctive contrasting styles.

Norman Dello Joio (1913–2008)Colloquies: Concert Suite for Violin and PianoLento expressivoAllegro molto e leggieroAdagio, mestoPresto spumanteAdagio tranquilloMolto animato, con ruvidezza

The American composer and educator Norman Dello Joio became active as a professional musician in the 1920s and remained a prominent figure in the cultural landscape of his country throughout the twentieth century. Dello Joio was taught to play the organ at an early age by his father and godfather, who were both skilled organists. By age 14, he was appointed organist at the Star of the Sea Church in New York. The traditional Catholic liturgical music the Dello Joio was exposed to at this time made a lasting impression on the young composer. His studies at the Juilliard School (1939–1941) and with Hindemith (1941) were also vital in shaping his personal compositional style and a musical language, which effectively fuses the worlds of Italian opera, liturgical music and jazz. In general, Dello Joio’s compositions are colorful, extroverted and well crafted. The accessibility of his style has earned him many awards and the respect of a wide audience; however, many musicologists criticized his music for being too accessible and did not consider him a serious composer. Dello Joio composed his Colloquies: Concert Suite for Violin and Piano in 1963. The work contains six small movements with distinctive contrasting styles.

ablazeRECORDS

p 2008 ablazeRECORDS, Pty Ltd © 2008 ablazeRECORDS, Pty Ltd (ASCAP)All rights reserved. Unauthorized duplication is a violation of applicable laws.

Recorded at Federation Concert Hall, Hobart, Australia (2006)Published by Ablaze Records, Pty Ltd

Producer, Douglas KnehansCover & design by Josephine McLachlan

www.ablazerecords.net Printed in the USA

1–3 Violin Sonata No. 1 in A minor, Op. 105

1. Mit leidenschaftlichem Ausdruck

2. Allegretto

3. Lebhaft

Robert Schumann (1810–1856)Ka Wong, Violin;Karen Smithies, piano

8:283:554:51

4–6 Violin Sonata No. 3 in A minor, Op. 25

1. Moderato malinconico

2. Andante sostenuto e misterioso

3. Allegro con brio ma non troppo mosso

George Enescu (1881-1955)Ka Wong, Violin;Karen Smithies, piano,

9:449:168:39

7 Colloquies, Concert Suite for Violin and Piano Norman Dello Joio (1913-2008)Ka Wong, Violin;Karen Smithies, piano

11:21

ABLAZE Records is a new Australian/American company specializing in classical and new classical music

from specialist composers and performers from around the world

Audiophile Audition has said of ABLAZE:

“I also give my kudos to Ablaze Records for sound quality but, more importantly, the commitment to new music that their company represents. Their website reveals that composers are openly solicited to submit scores and recordings for consideration on an ongoing basis. Additionally, the company is presently accepting orchestral scores to put on a

contemporary orchestral works CD! This is but one of the creative ways that living composers can have their works heard without waiting to hear back from the conventional symphony orchestra route. I look forward to more!”

— Daniel Coombs

© Audiophile Audition, Published on February 18, 2011

ABLAZE Records markets its discs through AMAZON.com world wide as well as through AMAZON MP3. Additionally all ABLAZE titles are available in over sixty countries through iTunes direct digital downloads

complete with beautiful, informative digital booklets.

http://www.ablazerecords.nethttp://www.facebook.com/AblazeRecords

ablazeRECORDS

ablazeRECORDS

p 2008 ablazeRECORDS, Pty Ltd © 2008 ablazeRECORDS, Pty Ltd (ASCAP)All rights reserved. Unauthorized duplication is a violation of applicable laws.

Recorded at Federation Concert Hall, Hobart, Australia (2006)Published by Ablaze Records, Pty Ltd

Producer, Douglas KnehansCover & design by Josephine McLachlan

www.ablazerecords.net Printed in the USA

1–3 Violin Sonata No. 1 in A minor, Op. 105

1. Mit leidenschaftlichem Ausdruck

2. Allegretto

3. Lebhaft

Robert Schumann (1810–1856)Ka Wong, Violin;Karen Smithies, piano

8:283:554:51

4–6 Violin Sonata No. 3 in A minor, Op. 25

1. Moderato malinconico

2. Andante sostenuto e misterioso

3. Allegro con brio ma non troppo mosso

George Enescu (1881-1955)Ka Wong, Violin;Karen Smithies, piano,

9:449:168:39

7 Colloquies, Concert Suite for Violin and Piano Norman Dello Joio (1913-2008)Ka Wong, Violin;Karen Smithies, piano

11:21

ABLAZE Records is a new Australian/American company specializing in classical and new classical music

from specialist composers and performers from around the world

Audiophile Audition has said of ABLAZE:

“I also give my kudos to Ablaze Records for sound quality but, more importantly, the commitment to new music that their company represents. Their website reveals that composers are openly solicited to submit scores and recordings for consideration on an ongoing basis. Additionally, the company is presently accepting orchestral scores to put on a

contemporary orchestral works CD! This is but one of the creative ways that living composers can have their works heard without waiting to hear back from the conventional symphony orchestra route. I look forward to more!”

— Daniel Coombs

© Audiophile Audition, Published on February 18, 2011

ABLAZE Records markets its discs through AMAZON.com world wide as well as through AMAZON MP3. Additionally all ABLAZE titles are available in over sixty countries through iTunes direct digital downloads

complete with beautiful, informative digital booklets.

http://www.ablazerecords.nethttp://www.facebook.com/AblazeRecords

ablazeRECORDS