Alex Ross. with Bianca Andrew & STROMA. Touring NZ May Chamber Music New Zealand presents. Alex Ross with Bianca Andrew & Stroma

Transcription

1 Alex Ross with Bianca Andrew & Stroma 1 Chamber Music New Zealand presents Alex Ross with Bianca Andrew & STROMA Touring NZ May 2018 Core Funder Tour Partner Supporting Partner Presented in association with

2 It s not often you get to hear the world s foremost music critic in person, accompanied by some of the most intriguing and beautiful music written for the 20th century. We welcome you to this exciting and varied programme with the celebrated critic and author Alex Ross, the hugely talented and much-loved young mezzo-soprano Bianca Andrew and the gifted musicians of STROMA who are always pushing boundaries and opening our ears. Chamber Music New Zealand s promotion of such an interesting concert is to be admired and enjoyed. Gillian Deane Chair Deane Endowment Trust

3 CHAMBER MUSIC NEW ZEALAND presents Alex Ross with Bianca Andrew & STROMA Alex Ross Author/Animateur Bianca Andrew Mezzo Soprano STROMA: Hamish McKeich Conductor/Co-Director Bridget Douglas Flute Patrick Barry Clarinet Vesa-Matti Leppänen Violin Andrew Thomson Violin/Viola Ken Ichinose Cello Emma Sayers Piano THE REST IS NOISE: An exploration of the history of chamber music in the 20th and 21st century. This concert will include excerpts from the following seminal works: SCHOENBERG Pierrot Lunaire RAVEL Chansons Madécasses BARTÓK Contrasts MESSIAEN Quartet for the End of Time LIGETI Baladă și joc (Ballad and Dance) STRAVINSKY Three Songs from William Shakespeare JENNY MCLEOD For Seven - INTERVAL - BERIO O King BOULEZ Improvisé pour le Dr. Kalmus XENAKIS Charisma GILLIAN WHITEHEAD Manutaki KAIJA SAARIAHO Oi Kuu DAVID LANG Short Fall Duration: 120 minutes including interval Full programme details listed on page 7 Sun 20 May, 4pm Mon 21 May, 7.30pm Tue 22 May, 7.30pm Thu 24 May, 7.30pm Fri 25 May, 7.30pm Sun 27 May, 6pm Mon 28 May, 7.30pm Wed 30 May, 7.30pm Auckland Town Hall* Gallagher Academy Hamilton Theatre Royal New Plymouth* MTG Century Theatre Napier Shed 6 Wellington* Nelson Centre of Musical Arts Glenroy Auditorium Dunedin The Piano Christchurch Auckland concert presented in association with The Auckland concert will be recorded for broadcast by RNZ Concert. *Audio description service provided by Nicola Owen of Audio Described Aotearoa.

4 2 Chamber Music New Zealand Kia ora tātou Having spent more than a quarter of a century lecturing on music at Victoria University of Wellington (please let s not change this name), I am in awe of Alex Ross s gift for communication. What is so brilliant about The Rest is Noise and Listen to This is the way Alex manages to synthesise fascinating historical and social detail with intelligent musical analysis. Listening to this (whatever this happens to be) is always more enjoyable and focused after reading what Alex has to say. The Rest is Noise did the impossible. It made a mass readership interested in contemporary music. The scare quotes here and scare seems right in more ways than one because some of this music is over a century old, but still thought to be challenging. STROMA was created to champion this repertoire and they do a magnificent job of that. What better way of illustrating the intrinsic interest and the beauty of music from Schoenberg to Saariaho than to bring Alex and Stroma together? A programme based on seminal chamber works of the modern era would have to include Pierrot Lunaire. For that we needed Bianca Andrew a wonderful, intelligent young New Zealander who is forging a spectacular career in Europe. I was delighted that the Auckland Writers Festival were so willing to partner CMNZ for this tour. Their patrons will have been treated to Alex talking about his new book on Wagner and another more general session by the time you are reading this. I d like to thank Anne O Brien warmly for working with us on bringing Alex to New Zealand. Professor Jack Richards has provided generous support for Bianca Andrew on this tour. Thank you, Jack. STROMA draws on key players from the NZSO, and I would like to thank the Orchestra for their assistance in ensuring that this tour integrated with their own schedules and for allowing their players to take part. We are indebted to our tour partners, Todd Corporation, and supporting partners, Lion Foundation and the Deane Endowment Trust. Sir Roderick and Lady Gillian Deane are long-time friends of Chamber Music New Zealand. Enjoy the concert, Peter Walls ONZM Chief Executive Music Up Close Puoro Taupiri Chamber Music New Zealand Please respect the music, the musicians, and your fellow audience members, by switching off all cellphones, pagers and watches. Taking photographs, or sound or video recordings during the concert is strictly prohibited unless with the prior approval of Chamber Music New Zealand.

5 Alex Ross with Bianca Andrew & Stroma 3 Do you want more out of your concert experience? Come along to our free CMNZ Prelude Series. Enjoy artist Q&A sessions, pre-concert talks, panel discussions and performances. PRELUDE SERIES FOR MORE INFORMATION: 0800 CONCERT ( ) chambermusic.co.nz/prelude PHOTO; ANDI CROWN

6 HAMISH MCKEICH Conductor, Co-Director STROMA New Zealand born conductor Hamish McKeich has forged an impressive international conducting career alongside a passionate loyalty for developing the repertoire of contemporary and experimental music. He has established an acclaimed partnership with the New Zealand Symphony Orchestra since 2002 and is currently their Associate Conductor. He has performed in New Zealand, Australia, China, the Netherlands, Italy, England, Germany, Austria, Switzerland, France, Armenia and Lebanon. Working regularly in Europe, and with all the major orchestras in New Zealand and Australia, McKeich performs in many musical genres, orchestral, opera, ballet, filmscores and cross-over projects. He has given over 100 world premieres of new works and is also chief conductor of the contemporary ensemble STROMA. Initially a bassoonist, Hamish McKeich studied conducting with legendary teacher and pedagogue Professor Ilya Musin and also prominent conductors Valery Gergiev, Sian Edwards and Peter Eötvös. McKeich was a finalist of the Gergiev Festival Conductors Masterclass, under the guidance of Professor Ilya Musin and Valery Gergiev. BIANCA ANDREW Mezzo Soprano A graduate of the Guildhall School of Music in London and the New Zealand School of Music in Wellington, mezzo soprano Bianca Andrew began her career as an Emerging Artist with New Zealand Opera. She is now based in Germany, where she is a member of the Opernstudio with Oper Frankfurt. Bianca is known for her engaging performances both in operatic and recital repertoire, and she was the winner of the 2016 Kathleen Ferrier Song Prize. Recent highlights include works by Thomas Adès with the Cambridge Philharmonic, Schumann with the London Symphony Orchestra and Sir Simon Rattle, and the title role in Handel s Radamisto with Guildhall Opera. Bianca is an alumna of the New Zealand Opera School, and is generously supported by the Dame Kiri Te Kanawa Foundation. Bianca is also supported by Professor Jack Richards for this tour. In 2012 Hamish McKeich was awarded a Douglas Lilburn Trust citation for services to New Zealand music.

7 STROMA Hamish McKeich STROMA Conductor/Co-Director Bridget Douglas Flute Patrick Barry Clarinet Vesa-Matti Leppänen violin Andrew Thomson viola Ken Ichinose cello Emma Sayers piano STROMA is one of New Zealand s finest contemporary chamber ensembles, comprising players from the NZSO and other freelance Wellington performers. Since its inaugural concert in 2000, STROMA has performed regularly, with a repertoire of fresh, cutting-edge compositions. STROMA has also been active in commissioning new works from New Zealand composers. Stroma has appeared at each New Zealand Festival (of the Arts) since 2002, as well as the International Jazz Festival 2003, the Wellington Cathedral Festival 2003 and the Christchurch Arts Festival (formerly Christchurch Festival of the Arts 2005). They also toured for Chamber Music New Zealand in Critics have called STROMA "one of the most interesting and original ensembles to have emerged recently", describing its performances as "vibrant and exhilarating", "stunning" and "staggeringly fine". Alongside regular guest Emma Sayers, this particular ensemble of STROMA players also hold prominent positions in the New Zealand Symphony Orchestra: Associate Conductor Hamish McKeich, Concertmaster Vesa-Matti Leppänen, and Section Principals Patrick Barry, Bridget Douglas, Ken Ichinose, and Andrew Thomson.

8 6 Chamber Music New Zealand Puoro Taupiri Music Up Close Chamber Music New Zealand recently partnered with VOICE Brand Agency to launch a refreshed, dual brand identity to celebrate our uniquely New Zealand identity and what we promise to deliver. What excites me most about the brand refresh is that it s a good example of Aotearoa/New Zealand growing up, says VOICE s Principal Jonathan Sagar. Featuring the two languages side by side, with neither as the lead language, that s a true partnership which is as it should be. Our Encore Supporters Programme is an especially valuable partnership, and you can be a part of it. Like the two languages in our brand, we hope that you will stand side by side with us by supporting Chamber Music New Zealand in 2018 as we continue to bring international artists to Aotearoa, nurture local talent and provide a springboard for our nation s future musicians. Find out more about this special partnership opportunity, visit chambermusic.co.nz/encore

9 Alex Ross with Bianca Andrew & Stroma 7 PROGRAMME ARNOLD SCHOENBERG ( ) Mondestrunken from Part One and Nacht from Part Two of Pierrot Lunaire (1912) MAURICE RAVEL ( ) Il est doux de se coucher, from Chansons Madécasses (1923) BÉLA BARTÓK ( ) Sebes ( Fast Dance ) from Contrasts (1938) OLIVIER MESSIAEN ( ) Danse de la fureur, pour les sept trompettes from Quartet for the End of Time (1941) GYÖRGY LIGETI ( ) Baladă și joc (Ballad and Dance) (1950) IGOR STRAVINSKY ( ) Full Fathom Five from Three Songs from William Shakespeare (1953) LUCIANO BERIO ( ) O King (1968) PIERRE BOULEZ ( ) Improvisé - pour le Dr. Kalmus (1969) IANNIS XENAKIS ( ) Charisma (1971) GILLIAN WHITEHEAD (1941-) Excerpt from Manutaki (1985) KAIJA SAARIAHO (1952) Oi Kuu (For a Moon) (1990) DAVID LANG (1957-) Short Fall (2000) ARNOLD SCHOENBERG ( ) "Gemeinheit! and O alter Duft from Part Three of Pierrot Lunaire (1912) JENNY MCLEOD (1941-) Sections F1 and G1 from For Seven (1966) -INTERVAL-

10 ALEX ROSS Author, Animateur Alex Ross has been the music critic of The New Yorker since His first book, The Rest Is Noise: Listening to the Twentieth Century, won a National Book Critics Circle Award and the Guardian First Book Award, and was a finalist for the Pulitzer Prize. His second book is the essay collection Listen to This. He is now at work on Wagnerism: Art in the Shadow of Music. Ross has received an Arts and Letters Award from the American Academy of Arts and Letters, the Belmont Prize in Germany, a Guggenheim Fellowship, and a MacArthur Fellowship. Some of the most ethereally beautiful music of the past century was first heard on a brutally cold January night in 1941, at the Stalag VIIIA prisoner-of-war camp, in Görlitz, Germany. The composer was Olivier Messiaen, the work Quartet for the End of Time. Messiaen wrote most of the piece after being captured as a French soldier during the German invasion of The premiere took place in an unheated barrack. An inscription in the score supplies a cataclysmic image from the Book of Revelation: In homage to the Angel of the Apocalypse, who lifts his hand toward heaven, saying, There shall be time no longer. This is, however, the gentlest apocalypse imaginable. The seven trumpets and other signs of doom take the form of fiercely elegant dances, whose rhythms swing along in intricate patterns without ever obeying a regular beat. Ultimately, Messiaen s apocalypse has little to do with history and catastrophe; instead, it records the rebirth of an ordinary soul in the grip of extraordinary emotion. Music of the 20th century is often associated with dissonance and difficulty. Many listeners still struggle to accept the innovative language that Schoenberg, Stravinsky, Bartók, and other innovators devised, although it has become familiar in other contexts, notably in the movies: try to imagine 2001: A Space Odyssey without

11 Alex Ross with Bianca Andrew & Stroma 9 the otherworldly soundscapes of György Ligeti. As museum-goers have come to terms with radical modern painting, perhaps concert-goers are ready to accept this outwardly challenging music, which contains enclaves of secret beauty. For 20th century composers were not merely instigators of mayhem; they also embraced past traditions, borrowed from folk and popular genres, and discovered new realms of pleasure as in Messiaen s ecstatic chorales and Kaija Saariaho s shimmering textures. As John Cage once said, this has been a time of many streams, intersecting in a vast delta of musical possibility. Our survey begins in 1912, when Schoenberg wrote his surreal, hallucinatory song cycle Pierrot Lunaire, and ends in 2000, when David Lang wrote his vividly coloured, post-minimalist piece Short Fall. You will hear a wide, wild range of styles from the ethereal precision of Ravel s Chansons madécasses to the grungy assault of Iannis Xenakis s Charisma; from the abstract purity of Pierre Boulez s Improvisé to the political-spiritual charge of Luciano Berio s O King, written in memory of Martin Luther King, Jr. We include two New Zealand composers, Jenny McLeod and Gillian Whitehead: the one reaches out to the international avantgardism of Ligeti and Stockhausen, while the other looks homeward, evoking flights of swallows on the west coast of the North Island. Bartók is represented by a movement from Contrasts, which he wrote for the great jazz clarinetist Benny Goodman; Stravinsky, by a seldom-heard late-period work, Full Fathom Five from Three Songs from William Shakespeare. Modern composers have often found themselves at odds with the mainstream classical music world, which tends to fear the alienating effect of the unfamiliar. Some of their finest works are written for tight little bands of winds and strings ensembles that can be assembled quickly from the ranks of musician friends. This was the intent behind the then unusual ensemble of Pierrot Lunaire: voice, flute, clarinet, violin, cello, and piano. Messiaen s Quartet is written for the even more peculiar combo of clarinet, violin, cello, and piano, those being the instruments that were available in Stalag VIIIA. Huge worlds can arise, though, from these intimate groups. With the addition of the human voice, we move into a realm of abstract music theatre: opera made by a company of friends in the dead of night, before the end of time. ALEX ROSS

12 MICHAEL NORRIS Co-Director STROMA Michael Norris is Programme Leader, Composition at the New Zealand School of Music. He holds composition degrees from Victoria University of Wellington and City University, London. In 2003, Michael won the Douglas Lilburn Prize, a nationwide competition for orchestral composers. He has participated in composition courses featuring leading composers such as Peter Eötvös, Alvin Lucier, Christian Wolff and Kaija Saariaho. His chamber orchestra work Sgraffito was commissioned by the SWR (Sudwestdeutsche Rundfunk) and premiered at the Donaueschinger Musiktage 2010 by the Radio Chamber Orchestra Hilversum, conducted by Peter Eötvös. In 2008, Michael organised the CANZ Composers Conference at the New Zealand School of Music and is Secretary General of the Asian Composers League. Michael maintains many active connections with performers, ensembles and composers worldwide, especially in Vienna, where he often spends time. The story of the 20th century is one of a world undergoing rapid change. Global trauma took place on an unprecedented scale. Technological advances revolutionised travel and communication, opening the world to previously unseen and unheard-of cultures. Scientific truths, held self-evident for centuries, were suddenly destabilised by relativity, uncertainty and incompleteness. Mass consumerism reared its ugly head, with all its attendant gloss and crass stereotypes. And if art is a reflection of the world around us, then this anxiety, uncertainty and popularism had to present in music just as much as it was in Picasso s angular, tortured Guernica, Duchamp s snook-cocking Fountain or Roy Lichtenstein s cartoony Whaam! Some composers, however, responded not so much with reflection as with erasure: a blank slate, a tabula rasa that deliberately avoided any possible association with the major key, emotionally overblown music that had been co-opted by fascist regimes as the soundtrack to mass genocide and societal indoctrination. In doing so, some composers opened up a whole new world of sounds that had been previously prohibited. In 1952, for instance, John Cage wrote a piece consisting of 4 minutes and 33 seconds of silence. It both erases the past, as well as opens our ears to the sounds around us. In the act of contemplating silence,

13 Alex Ross with Bianca Andrew & Stroma 11 Cage asks us to listen to our environment, to listen to others: to be tolerant, and to open our ears to new musical languages. Tonight s programme, then, takes us on a whistle-stop tour of some of the main musical languages of the twentieth century. It starts with one of the most radical works of the first decade: Arnold Schoenberg s Pierrot Lunaire. Written two years before the start of World War I, Schoenberg sets an Albert Giraud poem, featuring the commedia dell arte clown Pierrot, with dark surrealism and richly chromatic harmonies. Maurice Ravel s Chansons Madécasses, on the other hand, suggest another way to reinvent music from within: by maintaining conventional melody and harmony, but incorporating new, exotic scales and chords from around the world. Igor Stravinsky adopts Schoenberg s serialism in his setting of William Shakespeare s Full Fathom Five from The Tempest, but with a typical Neo-classical crispness of line. The internationalism of the mid-century is also captured in down-to-earth, folkmusic-inspired works by Hungarian composers Béla Bartók and György Ligeti. Olivier Messiaen s dance from the Quartet for the End of Time is, on the other hand, an altogether more celestial and devotional one (the first six trumpets of the Apocalypse followed by the trumpet of the seventh angel announcing consummation of the mystery of God). Messiaen s student Pierre Boulez is often described as the enfant terrible of 20th century music, as much for his polemic as for his compositions. But in Improvisé Pour le Dr. K, there is a playfulness and exquisite detail at work. New Zealand composer Jenny McLeod, who was once a student of both Messiaen and Boulez, draws on the sounds and techniques of her teachers in For Seven, but by her own admission, suffuses the score with hints of New Zealand birdsong. Gillian Whitehead s Manutaki features birds too: the Manutaki is the lead bird in a flock, the music suggesting the flight of sea swallows around the cliffs at Whatipu on the west coast of Auckland. In Kaija Saariaho s Oi Kuu and Iannis Xenakis s Charisma, new sounds emerge from unusual instrumental techniques: in the case of Saariaho, they are fragile and elegant; in the case of Xenakis, strident and brutalist. David Lang s Short Fall finally gets us to the 21st century. Representing American minimalism, his music loops, riffs and grooves, brings the concert to a rousing finale. Except that we leave the last word to Schoenberg: O Alter Duft floats through clouds of nostalgically consonant, if untethered harmonies. The strange juxtaposition of the consonant and the dissonant in this movement sums up, in one piece, the beautiful paradoxes of 20th century music. MICHAEL NORRIS

14 12 Chamber Music New Zealand Light, elegant and unapologetically entertaining. ITALY Alfredo Bernardini Oboe Paolo Grazzi Oboe Dileno Baldin Horn Francesco Meucci Horn Alberto Grazzi Bassoon Giorgio Mandolesi Bassoon CHAMBER MUSIC NEW ZEALAND PRESENTS Ensemble Zefiro Dalla Tafelmusik al Divertimento Hamilton, Hawke s Bay, Wellington, Christchurch I Divertimenti di Mozart Auckland, New Plymouth, Nelson, Dunedin JOIN THE CONVERSATION AUG 10 AUG 12 AUG 13 AUG 15 AUG 16 Wellington Dunedin Christchurch Nelson Hawke's Bay AUG 18 AUG 19 AUG 22 Auckland Hamilton New Plymouth For tickets and information go to: chambermusic.co.nz/ensemblezefiro Core Funder Free prelude events 45 minutes prior to concerts Scan Spotify code to listen

15 Thank You! To all of our generous donors who support CMNZ throughout the year. Alex Ross with Bianca Andrew & Stroma 13 Founders' Circle Members Anonymous Graeme Edwards Arnold and Reka Solomons The Estate of Jenni Caldwell The Estate of Aileen Claridge The Estate of Walter Freitag The Estate of Chisne Gunn The Estate of Warwick Gordon Harris The Estate of Joan Kerr The Estate of Monica Taylor Ensemble ($10,000+) Anonymous Robin & Sue Harvey Kaye & Maurice Clark Gill and Peter Davenport Peter and Carolyn Diessl Professor Jack Richards Octet ($5,000+) M Hirschfeld Children's Trust Hylton LeGrice and Angela Lindsay The Lyons Family - in memory of Ian Lyons Kerrin and Noel Vautier Lloyd Williams and Cally McWha Quintet ($2,500+) Joy Clark John and Trish Gribben Ann Harden Jane Kominik Collin Post Arnold and Reka Solomons Peter and Kathryn Walls Quartet ($1,000+) Anonymous (2) Donald and Susan Best Roger and Joanna Booth Philip and Rosalind Burdon MD and MA Carr Rick and Lorraine Christie Roger Christmas The Cranfylde Charitable Trust Peter and Rae Fehl Finchley Trust Dame Jennifer Gibbs Patricia Gillion David and Heather Hutton Linda MacFarlane Elizabeth McLeay Roger and Jenny Mountfort Barbara Peddie Roger Reynolds Martin and Catherine Spencer Basil & Jenny Stanton Alison Thomson Ann Trotter Judith Trotter Anna Wilson Bruce Wilson and Jill White Ann Wylie David Zwartz Trio ($500+) Anonymous (6) Diane Baguley Philippa Bates Harry and Anne Bonning JD Cullington Jonathan Cweorth Graeme and Di Edwards Hanno Fairburn Tom and Kay Farrar John Farrell Anne French Consulting Ltd Belinda Galbraith Pat Gibson Laurie Greig Douglas and Barbara Holborow E Prof Les Holborow Michael Houstoun and Mike Nicolaidi Caroline List Fiona Macmillan and Briony Macmillan Margaret Malaghan Raymond and Helen Matias AE McAloon Andrew and Mary McEwen Shelley and Euan Murdoch Prue Olde Miles Rogers Sylvia Rosevear Peter and Juliet Rowe John and Kathryn Sinclair Mary Smit Ross Steele Priscilla Tobin David Tripp Patricia Unger Richard and Elaine Westlake Tim Wilkinson Every gift of $5 or more is eligible for tax purposes and provides you with a tax credit, a receipt will be issued for tax deduction purposes.

16 UNDER THE AGE OF 35? Unlock new classical music experiences, and get pay your age tickets! STUDENT TICKETS Are only $10* *Booking fees apply Generation you the future of classical music Do you love music? Shape the future and share the magic of live classical music experiences. FOR MORE INFORMATION: 0800 CONCERT ( ) chambermusic.co.nz/genyou

17 Alex Ross with Bianca Andrew & Stroma 15 REGIONAL CONCERTS Board Lloyd Williams (Chair), Quentin Hay, Gretchen La Roche, Bruce Phillips, Matthew Savage, Vanessa Van den Broek, Kerrin Vautier Staff Chief Executive, Peter Walls Artistic Manager, Catherine Gibson Artistic Assistant, Jack Hobbs Education and Outreach Coordinator, Sue Jane Operations Coordinator, Rachel Hardie Development Manager, TBC Development Executive, Virginia Close Marketing Manager, Shelley Davis Design & Print Coordinator, Darcy Woods Marketing Executive, Alessandra Orsi Ticketing & Database Coordinator, Laurel Bruce Publicity & Communications Executive, Anna van der Leij Office Administrator, Becky Holmes Branches Auckland: Chair, Victoria Silwood; Concert Manager, Bleau Bustenera Hamilton: Chair, Murray Hunt; Concert Manager, Gaye Duffill New Plymouth: Concert Manager, Catherine Martin Hawkes Bay: Chair, June Clifford; Concert Manager, Rhondda Poon Manawatu: Chair, Graham Parsons; Concert Manager, Virginia Warbrick Wellington: Concert Manager, Rachel Hardie Nelson: Chair, Annette Monti; Concert Manager, Clare Monti Christchurch: Concert Manager, Jody Keehan Dunedin: Chair, Terence Dennis; Concert Manager, Richard Dingwall Southland: Chair, Rosie Beattie; Concert Manager, Jennifer Sinclair Regional Presenters Marlborough Music Society Inc (Blenheim), Christopher's Classics (Christchurch), Cromwell & Districts Community Arts Council, Geraldine Academy of Performance & Arts, Musica Viva Gisborne, Music Society Eastern Southland (Gore) Arts Far North (Kaitaia), Aroha Music Society (Kerikeri), Chamber Music Hutt Valley, Motueka Music Group, Oamaru Opera House, South Waikato Music Society (Putaruru), Waimakariri Community Arts Council (Rangiora), Rotorua Music Federation, Taihape Music Group, Tauranga Musica Inc, Te Awamutu Music Federation, Upper Hutt Music Society, Waikanae Music Society, Wanaka Concert Society Inc, Chamber Music Wanganui, Warkworth Music Society, Wellington Chamber Music Trust, Whakatane Music Society, Whangarei Music Society. Level 4, 75 Ghuznee Street PO Box 6238, Wellington 0800 CONCERT ( ) /ChamberMusicNZ Chamber Music New Zealand 2018 No part of this programme may be reproduced without the prior permission of Chamber Music New Zealand. TORU (flute, viola, harp) Tauranga Rotorua Gisborne MAZZOLI TRIO (violin, viola, cello) Kerikeri OL' KING COLE [piano, double bass, guitar] Geraldine Oamaru Wanaka Cromwell Gore Motueka Whanganui Warkworth Tauranga Whakatane Gisborne THE KUGELS [soprano saxophone, violin, double bass, accordian] Motueka KLARA KOLLEKTIV (clarinet, violin, piano) Whakatane Warkworth Whangarei Rotorua Lower Hutt Whanganui Waikanae Wanaka 20 May 22 May 25 May 8 June 12 June 13 June 15 June 16 June 17 June 19 June 21 June 23 June 24 June 25 June 27 June 25 July 19 July 21 July 22 July 24 July 26 July 27 July 29 July 9 August

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19 THANK YOU A special thank you to all of our sponsors and funding partners. Core Funder Supporting Funder National Touring Partners National Business Partners Regional Partners Education & Community Partners Key Funding Partners CMNZ recognizes the following funders who generously support our work. Funding Partners Bendigo Valley Charitable Foundation Community Trust of Southland Dunedin City Council Eastern & Central Community Trust First Light Community Foundation Four Winds Foundation Invercargill Licensing Trust Judith Clark Memorial Fund Mt Wellington Foundation New Plymouth District Council Otago Community Trust Pelorus Trust Pub Charity Rātā Foundation Southern Trust The Adam Foundation Trust House Trust Waikato TSB Community Trust Turnovsky Endowment Trust Wellington City Council Wellington Community Trust Winton & Margaret Bear Charitable Trust

20 The music s potency and bravura were conveyed with thrilling conviction ~ The Guardian UK Oliver Heath Violin Sara Wolstenholme Violin Gary Pomeroy Viola Christopher Murray Cello CHAMBER MUSIC NEW ZEALAND PRESENTS Heath Quartet JOIN THE CONVERSATION Programme features: Haydn / Gareth Farr / Britten / Bach JUN 23 Auckland JUN 24 Hawke's Bay JUN 27 Wellington JUN 30 Dunedin JULY 2 Christchurch FREE children s concert in Wellington and Dunedin Register online Free prelude events 45 minutes prior to concerts Scan Spotify code to listen For tickets and information go to: chambermusic.co.nz/heathquartet Core Funder Tour Partner