Chamber Music New Zealand Presents NEW ZEALAND STRING QUARTET BEETHOVEN! REVOLUTION

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1 Chamber Music New Zealand Presents NEW ZEALAND STRING QUARTET BEETHOVEN! REVOLUTION

2 Message from the Beethoven! Series sponsor Fred Turnovsky, who arrived in New Zealand in 1940, was a member of a small group of refugees from Europe who influenced immeasurably our cultural life. Having grown up in Prague, one of the undisputed cultural centres of Europe, he was struck by the fact that professional music, which he had taken for granted, did not appear to exist in his adopted country. With his drive and dedication he set about, in a positive and practical way, to foster the Arts, especially music. In collaboration with other music enthusiasts he established what we call today Chamber Music New Zealand and was a driving force in the early days of opera in New Zealand. He also established the Turnovsky Endowment Trust which has, over a period of many years, generously supported the Arts. Fred died in 1994 but his family, in wishing to fulfil his vision of a strong cultural environment, continues to foster the Arts through the Turnovsky Endowment Trust. And then there appeared on the scene a young string quartet of exceptional quality, the New Zealand String Quartet, whose playing captivated me from the first hearing. Our trust helped find them a home as quartet-in-residence at Victoria University, and every time I hear them I preen myself for having done something useful in my fifty years of living in New Zealand. And that brings me around in a full circle. I started with chamber music, and I finish with chamber music. In the end, it is for me the crowning glory of human creativity. Fred Turnovsky, from his autobiography Turnovsky: fifty years in New Zealand We hope you enjoy the performances by the New Zealand String Quartet as much as he did. Helen Philpott Trustee, Turnovsky Endowment Trust

3 Message from the tour sponsor The Lion Foundation is delighted to be in a position to once again support Chamber Music New Zealand. As one of the Country s leading Charitable Trusts, our broad based approach has helped to enable Kiwis from all walks of life to achieve great things within their respective communities and sectors; Chamber Music New Zealand is no exception. We look forward to hearing the feedback from the many who will come to enjoy this programme. The Lion Foundation has been supporting the Arts for over quarter of a century alongside its funding of Sport, Health and Education and as the broadest ranging enabler of Community activity we support hundreds of thousands of Kiwis every day. Encore, CMNZ's Supporter Programme, provides many ways of gifting your support to ensure the continued vitality of chamber music in New Zealand. We thank all contributors for their generous support. For more information about Encore, visit

4 Welcome Kaleidoscopes 2012 It is a great pleasure to follow our popular tour by the iconic international ensemble I Musici with concerts by our own icon, the New Zealand String Quartet. Chamber Music New Zealand is the proud parent of the Quartet, and like all parents we are delighted with their national and international success now that they are an independent organisation. When we started the group, there were no full-time chamber music groups in New Zealand, and it took the dedicated efforts of many musiclovers to make it happen. Thanks to those people, we can now celebrate the New Zealand String Quartet s 25th birthday by sharing this revolutionary concert with you. Beethoven has been in the Quartet s repertoire right from the beginning their first public programme Robert Catto All rights reserved included Opus 59 No 2 and many of us still recall with admiration their performances of the complete Beethoven cycle in We are delighted that tonight s concert is part of the Quartet s 2012 Beethoven! series. The first two were presented as part of the 2012 New Zealand International Arts Festival and we hope that you can also enjoy The Late Quartets later this year. Professional musicians need professional support. The Lion Foundation is one of this country s leading community funders, and we truly appreciate their generous on-going support for the chamber music community. It is particularly poignant to also partner with the Beethoven series sponsor Turnovsky Foundation for this tour, as Fred Turnovsky was such a driving force behind both Chamber Music New Zealand and the establishment of the Quartet. I m sure you will all join me in wishing the New Zealand String Quartet a very happy birthday on the 1st of October! Euan Murdoch Chief Executive, Chamber Music New Zealand 2.

5 Programme One Beethoven String Quartet Opus 59 No 1 page 7 INTERVAL Beethoven String Quartet Opus 59 No 2 page 8 NAPIER 23 APRIL DUNEDIN 26 APRIL WELLINGTON 3 MAY NELSON 4 MAY HAMILTON 8 MAY WHANGAREI 10 MAY Programme Two Beethoven String Quartet Opus 74 Harp page 9 Beethoven String Quartet Opus 95 Quartetto Serioso page 10 INTERVAL Beethoven String Quartet Opus 59 No 3 page 11 PALMERSTON NORTH 22 APRIL NEW PLYMOUTH 24 APRIL INVERCARGILL* 28 APRIL CHRISTCHURCH 30 APRIL AUCKLAND 9 MAY UPPER HUTT 11 JUNE WAIKANAE 17 JUNE * In association with Southland Festival of the Arts concerts presented by regional music societies The Auckland and Wellington concerts will be recorded for broadcast by Radio NZ Concert 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. New Zealand String Quartet 3.

6 Helene Pohl violin Douglas Beilman violin Gillian Ansell viola Rolf Gjelsten cello Principal Sponsor: New Zealand String Quartet Kaleidoscopes 2012 The New Zealand String Quartet is the foremost chamber ensemble in this country, and the mosttravelled classical group. Formed by Chamber Music New Zealand in 1987, the Quartet regularly visits both large and small centres in New Zealand, and also performs internationally each year. The group has just returned from performing in a New Zealand mini-festival at the Kings Place in London, and performing at the opening of New Zealand s year as Country of Honour at the Frankfurt Book Fair. Members of the New Zealand String Quartet play a pivotal role in the Adam Chamber Music Festival in Nelson. As teachers, they also conduct the annual Adam Summer School for young chamber musicians, and are Quartet-in- Residence at the New Zealand School of Music in Wellington. The Quartet s extensive list of CDs includes a recently-released disc of New Zealand quartets by John Psathas, Jack Body, Ross Harris, Gareth Farr and Michael Norris, Notes from a Journey, which won 4.

7 the Best Classical Album at the 2011 NZ Music Awards. In 2012, the New Zealand String Quartet is celebrating its 25th anniversary by presenting the complete cycle of Beethoven s sixteen String Quartets in partnership with the New Zealand International Arts Festival and Chamber Music New Zealand. Their performances of the early Age of Enlightenment quartets are webcast on and the Late Quartets will be toured in August and September. [Fred] was a wonderful mentor. He had been so long in that world, and had a wealth of life experience. And he saw the value of having a string quartet teaching and being mentors for young players. It was a presence in the country to get other things going - that was part of his vision. Wilma Smith recalling Fred Turnovsky s role in her early days as leader of the New Zealand String Quartet, from Staying in Tune: Chamber Music New Zealand at 60 by Jane Dawson New Zealand String Quartet 5.

8 Ludwig van Beethoven Baptised Bonn, 17 December 1770 Died Vienna, 26 March 1827 Kaleidoscopes In 1787 a sixteen year old pianist named Ludwig van Beethoven, who had also begun to compose, travelled from Bonn to Vienna, to seek instruction from Mozart. The death of his mother forced him to return only a fortnight later to become the family s chief breadwinner, after his alcoholic father suffered a complete breakdown. In 1792 Haydn passed through Bonn and admired some of Beethoven s compositions, and later that year Beethoven left Bonn to study with Haydn in Vienna. His expenses were paid by the Elector of Cologne on the understanding that he would shortly return but in fact he never went home. In Vienna, Beethoven established himself as a virtuoso pianist, filling some of the void left by the death of Mozart. He gave recitals, toured extensively, and was celebrated for his heroic improvisations. In 1795 he published his first piano trios, and the following year three piano sonatas dedicated to Haydn. In April 1801 his First Symphony was premièred, and the same year saw the publication of Beethoven s first six string quartets Opus 18. Beethoven s second decade in Vienna was dominated by the realisation that he was losing his hearing, and although he continued to perform in public, his music was inevitably coloured by suffering, and later calm resignation. Yet between 1801 and 1815 he produced some of his most heroic works, and enjoyed financial as well as artistic success thanks to supporters such as Archduke Rudolph, dedicatee of the Archduke Trio, and Count Rasumovsky, who commissioned the Opus 59 quartets in By 1820 Beethoven was completely deaf, and although regarded as the greatest composer in Vienna, he was seen as eccentric, even mad. Nevertheless, it was during the final years of his life that some of his most substantial and deeply felt works emerged. His last works were all string quartets, composed between 1822 and Beethoven died a year later and his funeral procession through Vienna s streets was reputedly watched by ten thousand people. Programme notes by Susannah Lees-Jefferies, adapted from Chamber Music New Zealand files

9 String Quartet in F Opus 59 No 1 Allegro Allegretto vivace e sempre scherzando Adagio molto e mesto - attacca: Thème russe. Allegro Count Andreas Kirillovich Rasumovsky ( ) was the Russian ambassador to Vienna and the brother-in-law of Prince Lichnowsky, the dedicatee of Beethoven s Opus 1 piano trios. An art collector and music lover, Count Rasumovsky supported a permanent string quartet, formed to perform the three quartets that he commissioned from Beethoven, from 1808 to Described as an enemy of the Revolution but good friend of the fair sex, Rasumovsky was one of Beethoven s most significant patrons. As the opening phrase soars into being it is clear that this is quartet writing on an unprecedented scale, both in the length and construction of the movements (all four movements are in full sonata form) and in the symphonic spaciousness of Beethoven s vision. The Allegro [lively] is typical of Beethoven s increasingly mature style, coupling rhythmic drive with a slow rate of harmonic change. Rather than the short, incisive figures of earlier works, the melodies are flowing and continuous, yet are easily divisible into smaller motifs. In a departure from classical sonata form the exposition is not repeated, and the climax of the whole movement occurs in the coda, as the first theme rings out over rich harmonies. A rhythmic figure forms the first subject of the Allegretto vivace e sempre scherzando [lively and always playful], but it is the more lyrical second subject which begins the recapitulation before ending with one of Beethoven s favourite juxtapositions of pianissimo and fortissimo. The Adagio molto e mesto [very slow and sorrowful] provides a stark contrast. Remarkable for its effective use of pizzicato, and redolent with deeply felt emotion, the early sketches bear the inscription A weeping willow or acacia over my brother s grave. The tragic mood is gradually dispelled as a florid violin passage over a sustained dominant seventh leads directly into the finale. The Allegro is all brilliance and energy, featuring a Russian folk song [Thème russe] in which a soldier laments the hardships of military life. By an unusual use of extended trills at the end of the exposition and during the development, Beethoven links the finale to the violin transition from the third movement. The coda contains some lively fugal writing before the folk song returns at a more mournful tempo, only to be swept aside by a galloping conclusion. New Zealand String Quartet 7.

10 String Quartet in E minor Opus 59 No 2 Allegro Molto adagio. Si tratta questo pezzo con molto di sentimento Allegretto Finale. Presto Kaleidoscopes The second of the Opus 59 Quartets was composed over an intensive period, probably between April and November As is often the case with Beethoven, it could not be more different than the work preceding it. Apart from the extraordinary slow movement, it is more terse, darker and more highly strung than the first Rasumovsky quartet, full of a restless searching energy. The main theme in the Allegro is triadic and to the point, and in the exposition it is the silences, rather than the notes, that give the music its strength. The emphatic opening chords coupled with highly effective pauses create an atmosphere of mystery and suspense that persists throughout. Unlike the continuous flowing melodies of Opus 59 No 1, the Allegro is mercurial in its moods, with labyrinthine figuration and dramatic syncopations. Like the Fifth Symphony, the recapitulation is in the major, leaving the coda to re-establish the original tonality. The E major Molto adagio [very slow] is one of Beethoven s most remarkable slow movements, with the instruction to play this with much feeling. His pupil Carl Czerny claimed that he had been inspired by the starry sky and the movement of the spheres. While Beethoven typically shunned extramusical stimuli, the profound serenity of the music does not make this allusion seem far-fetched. A chorale-like melody opens the movement, with staggered entries giving an ethereal quality. Although it is in sonata form, the transitions between sections are treated so unobtrusively as to be barely perceptible. Throughout, the melodies are almost continuously accompanied by persistent rhythmic figures, like hushed heartbeats, so, when at the climax of the movement the main theme sings out accompanied only by striking new harmonies, the effect is fresh and startling. The Allegretto is an unsteady and somewhat ponderous dance, with an unsettling transition from E minor to D major at the end of the first section. In the Trio Beethoven introduces a solemn Russian hymn, treated somewhat irreverently as a brisk fugue. The Presto [very fast] last movement is a vigorous tussle between conflicting keys. It is given direction by a neatly pointed quaver/crotchet rhythm, ever-present in the accompaniment and rarely swamped by passages of strenuous counterpoint. This gives the Finale a smart, almost military flavour, although the ending is restless and indecisive until the main theme finally appears in the tonic.

11 String Quartet in E flat Opus 74 Harp Poco adagio - Allegro Adagio ma non troppo Presto - attacca: Allegretto con variazioni May 1809 saw the French bombard and occupy Vienna. Unlike his aristocratic friends, Beethoven could not leave the city, communication was well-nigh impossible, and he was unable to take the country walks that inspired him. A letter to his publishers on 26 July summed up his mood: Let me tell you that since May 4th I have produced very little coherent work, at most a fragment here and there. The whole course of events has in my case affected both body and soul... What a destructive, disorderly life I see and hear around me: nothing but drums, cannons, and human misery in every form. The Harp Quartet was one of only a few large-scale works, along with the Piano Sonata Opus 81a and the Emperor Concerto, that Beethoven completed in Dedicated to Prince Lobkowitz, it was published in for the second violin and viola in canon, heralding the climactic return of the main theme. The Adagio ma non troppo [slow but not too slow] is a spacious rondo in A flat. The lyrical theme appears three times: floating above sustained chords; lavishly ornamented over accompanying triplets; and on the lowest string, woven through a hazy accompaniment. The first contrasting episode moves seamlessly through a wide range of keys, while the second introduces a new violin melody, intertwined with a cello solo. Persistent rhythms in the Presto [quickly] recall the Fifth Symphony, but after a vehemently loud opening the mood is subdued. The C major Trio in the centre has no such reservations, consisting of an aggressively intricate fugue. Opening mysteriously in A flat, the Poco adagio [somewhat slow] introduces a tonal plan for the whole quartet, encompassing E flat, A flat, C minor and C major. The ensuing Allegro is bluntly cheerful, with a simple theme enlivened by a viola countermelody and the pizzicati which give rise to the work s nickname. The coda contains a stunningly beautiful passage Immediately following on, the six variations of the final movement are diverse in nature. The first, third and fifth are lively but not particularly deep, while the second and fourth allow the viola and violin a chance to shine. The sixth makes use of a shifting E flat/d flat pedal in the cello before a coda featuring short variations on a truncated version of the theme. New Zealand String Quartet 9.

12 String Quartet in F minor Opus 95 Quartetto serioso Allegro con brio Allegretto ma non troppo - attacca: Allegro assai vivace ma serioso Larghetto espressivo - Allegretto agitato Kaleidoscopes Following the rejection of his marriage proposal by the much younger Therese Malfatti, to whom he had given the autograph score of Für Elise, Beethoven spent the summer of 1810 in Baden, a resort outside Vienna. While there he worked on the String Quartet Opus 95 and the Archduke Trio Opus 97, the only significant compositions begun that year. The autograph score of Opus 95 is dated October 1810, but recent studies suggest that it was revised extensively in 1814, before its first performance. It is dedicated to its copyist, Nikolaus Zmeskall von Domanovecz ( ), a civil servant, amateur cellist and one of Beethoven s most loyal friends. The title serioso (Beethoven s own) refers to the quartet s learned style. He was curiously reticent about promoting it, and in 1816, the year of its publication, wrote to Sir George Smart in London: NB. The Quartet is written for a small circle of connoisseurs and is never to be performed in public. The Allegro con brio [lively and spirited] first movement is remarkable for its economy. The brief first theme introduces a distinctive semiquaver figure, while the second is lyrical and flowing, underpinned by very simple harmonies. Gruff scales in remote keys are used as bridge passages throughout. The recapitulation cuts the first theme short and focuses on the lyrical second subject, ending with a dramatic interrupted cadence and a vigorous coda. The Allegretto ma non troppo [lively but not too much so] continues the subdued mood with a restrained cello solo, leading to a beautifully sensitive theme. After the terse first movement, the Allegretto is spaciously constructed in a broad arch around a central fugal section, which contains a restful interlude based on the opening solo. Following a wistful cadence, a bare octave D and a diminished seventh lead straight into the scherzo. The Allegro assai vivace ma serioso [very lively but serious] is a fierce dance with two motifs: a three note figure and a scale passage. The Trio is a complete contrast, with a cantabile melody, accompanied by continuous quavers, moving fluidly through a series of remote keys. After a mysterious Larghetto espressivo [slow and expressive] introduction, the Allegretto agitato [somewhat lively and agitated] is a well-proportioned sonata rondo, based around a lightly scored, rhythmic theme. Not a second is wasted in its relentless motion towards an ending in F major, thwarted at the last moment by a brilliantly airy coda.

13 String Quartet in C Opus 59 No 3 Introduzione. Andante con moto - Allegro vivace Andante con moto quasi allegretto Menuetto. Grazioso - attacca: Allegro molto In the summer of 1806, Beethoven threw himself into composing a series of great instrumental works, including the Fourth Symphony, the Appassionata Sonata and the three Rasumovsky Quartets. After a long struggle with his opera Leonore he was in an optimistic mood and ready for fresh challenges. Above his sketches for Opus 59 No 3 is written: Just as you plunge yourself here into the whirlpool of society, so in spite of all social obstacles it is possible for you to write opera. Your deafness shall be a secret no more, even where Art is involved!. After an atmospheric introduction of slowly shifting chromatic harmonies, the lively Allegro vivace [lively and spirited] has the impact of a fresh gust of wind. Full of vigorous passage work, fugato entries, and extended trills, the lengthy exposition leads to a short but eventful development section. The gently elegiac Andante con moto [at a flowing pace] in A minor is one of Beethoven s most haunting slow movements. While the theme is original, the violin harmonies, coupled with pizzicato pedal points, create a Slavonic mood. It was in the slow movements of Opus 59 Nos 1 and 3 that Beethoven first realised the emotional possibilities of pizzicato, and the carefully shaded cello line has a hypnotic effect. The opening of the Menuetto [minuet] harks back to the 18th century in its graceful symmetry, but the rapid figuration and carefree passing of the melody from voice to voice makes it clear that this is not a run-ofthe-mill dance movement. Also, unlike the classical minuet, cadences frequently fall on the third beat of the bar, giving a charmingly breathless quality. An unexpected coda in a minor key adds a note of mystery, before plunging headlong into the finale. The Allegro molto is one of Beethoven s most irresistable finales. Written in the moto perpetuo style, the motion is not just perpetual, but at times precipitous. Using a typical combination of rapid rhythm and slow harmony, the theme is so long that it only allows for two complete statements: at the beginning, and at the start of the recapitulation, which is further enlivened by a countersubject. A dramatic pause leads to a teasingly extended coda, before rushing to its inevitable conclusion. New Zealand String Quartet 11.

14 Beethoven s String Quartets in Context by Dr Nancy November Kaleidoscopes Beethoven s seventeen string quartets are now considered as cornerstones of chamber music, indeed of Western classical music altogether. For early listeners and performers, though, these strikingly novel, avant-garde works presented considerable challenges. The five late quartets, in particular, were castigated as the musical ravings of a deaf madman, before being hailed as the purest and most profound utterances of a genius. These works both reflected the changing times and were themselves instruments of change. At first they were mainly performed in private settings, but they also heralded the new public life of chamber music. The Beethoven quartets were championed and premiered by the first professional string quartet, led by Beethoven s close acquaintance Ignaz Schuppanzigh. Bold innovations appear straight away, in the first six string quartets that make up Opus 18 ( ). These works do not fit neatly with received ideas of Beethoven s socalled first period (1782-c.1802), when he supposedly continued the traditions set by Mozart and Haydn. In the String Quartet in A major, Opus 18 No 5, for example, the slow movement bears resemblances to Mozart s slow movement in his Haydn String Quartet in A major, K Yet as early as the first variation, Beethoven introduces a cheeky spin on contrapuntal working (a hallmark of the traditional string quartet), flaunting the first violin s high register and underlining how far he had moved from his forebears in terms of movement models and style. The cryptic tonal labyrinths at the beginning of the finale in Opus 18 No 6 ( La Malinconia ) attest to his bold challenging of conventions challenges that were all the more daring given the elevated status of the string quartet. The five middle- or second-period quartets, completed in 1806 (Opus 59), 1809 (Opus 74), and 1810 (Opus 95), are newly public in terms of intended venue and style, including intense dramatic contrasts, new textures, virtuoso passages for all players, and works of unprecedented length. The expansiveness and exuberant dramatics of these works fit with Beethoven s emphasis on the large-scale and theatrical works at this time: one thinks of the Third to Sixth Symphonies, the Fourth and Fifth Piano Concertos, Egmont, Fidelio. The advent of Schuppanzigh s chamber music concert series in was very likely an inspiration, a prompt to reach out to his public with musical gestures writ large. Yet there are also moments of striking intimacy and poignancy. In a sketch note to Opus 59 No 3, Beethoven

15 wrote to himself: Just as you fall here into the whirlpool of society, so it is possible to write works despite all societal hindrances Your deafness can no longer be a secret also in art. The haunting D-flat cantabile within the slow movement of Opus 59 No 1 is one place where, amid all the publicity, the melancholy voice of the almost-deaf composer might be heard. With Opus 74 and Opus 95 Beethoven had broken from the tradition of composing in sets of three or six, and would now publish his quartets as single opus works. The works themselves now became highly individualised and idiosyncratic, especially the five late quartets composed Following on the heels of works such as the Ninth Symphony and the Missa solemnis, they encapsulate this period of radical innovation, eccentricity, and paradox. The late quartets encompass oppositional elements such as massivity vs miniaturisation and songfulness vs highly instrumental writing: compare the beautifully lyrical Cavatina with the jagged contours of the Große Fuge (Great Fugue ), adjoining movements in the Opus 130 Quartet. Reprinted courtesy of the New Zealand String Quartet Trust For the young performer, it often feels like one needs to inhale incredibly deeply, gathering a reserve of oxygen for more than just the additional pyrotechnics. The wonder of Beethoven s voice, its sheer ability to speak of many sentiments and its sudden juxtaposition of opposites becomes more and more pronounced. Arriving at the rollicking good fun of the last movement of Opus 59 No 3 seems a true reward indeed. Douglas Beilman a performer s view of Beethoven s middle period quartets New Zealand String Quartet 13.

16 Timeline of events Handel s Messiah performed in Dublin Celsius invents temperature scale first public railway opens in London excavation of Pompeii begins JS Bach dies Boston Tea Party revolt against British rule Louis XVI crowned King of France Napoleon crowns himself Emperor in Paris British take over colony of Quebec Beaumarchais produces The Barber of Seville Electric battery invented first European women arrive in NZ American Declaration of Independence first potatoes grown in Bay of Islands Beethoven born Captain Cook sails through Cook Strait gas fires patented in France Napoleon forces Austria to make peace Jenner develops a successful smallpox vaccine Kaleidoscopes Methodist Church founded Haydn born Vivaldi dies Bering discovers Alaska de Surville lands at Doubless Bay, kidnaps Ranginui Mozart dies Sealers and whalers begin working in New Zealand French Revolution Washington becomes first President of USA American constitution drafted Uranus discovered by Herschel

17 Rev Samuel Marsden conducts first Christian service in NZ Argentina declares independence from Spain Macadam develops macadamised roads in Scotland Goethe dies Morse invents electric telegraph British Factory Act regulates child labour Raffles founds Singapore 34 chiefs sign the Declaration of Independence in NZ Queen Victoria crowned in Britain Daguerre takes first photos sewing machine patented in France Beethoven dies D Urville begins charting New Zealand coastline Egyptian hieroglyphs deciphered by Champollion Treaty of Waitangi signed first adhesive postage stamps issued in Britain Opium Wars begin in China Brothers Grimm publish their first volume of fairy tales Napoleon s army defeated in Russia Luddite riots against mechanised weaving looms Mendelssohn born Haydn dies New Zealand String Quartet 15.

18 Board Chair, Peter Diessl, June Clifford CNZM, Paul Baines, Michelle van Gaalen, Roger King, Helen Philpott, Gretchen La Roche, Lloyd Williams. Kaleidoscopes Staff Chief Executive, Euan Murdoch Audience Development Manager, Victoria Dadd Marketing & Communications Assistant, Candice de Villiers Ticketing & Database Co-ordinator, Laurel Bruce Design & Print, Chris McDonald Publicist, Sally Woodfield Business Manager, Jenni Hall Operations Co-ordinator, Jessica Lightfoot Office Administrator/Programme Co-ordinator (Contest), Sue Jane Artist Development Manager, Anna Sedcole Programme Co-ordinator (Contest), Pip Want (on leave) Programme Writer, Jane Dawson Branches Auckland: Chair, Victoria Silwood; Concert Manager, Ros Giffney Hamilton: Chair, Murray Hunt; Concert Manager, Gaye Duffill New Plymouth: Chair, Joan Gaines; Concert Manager, Susan Case Hawkes Bay: Chair, June Clifford; Concert Manager, Liffy Roberts Manawatu: Chair, Graham Parsons; Concert Manager, Karen Carter Wellington: Concert Manager, Jessica Lightfoot; Nelson: Chair, Henrietta Hannah; Concert Manager, Clare Monti Christchurch: Chair, Colin McLachlan; Concert Manager, Jody Keehan Dunedin: Chair, Terence Dennis; Concert Manager, Richard Dingwall Southland: Chair, Shona Thomson; Concert Manager, Jennifer Sinclair Regional Presenters Blenheim, Cromwell, Gisborne, Gore, Hutt Valley, Kaitaia, Morrinsville, Motueka, Rotorua, Taihape, Tauranga, Te Awamutu, Tokoroa, Upper Hutt, Waikanae, Waimakariri, Waipukurau, Wanaka, Wanganui, Warkworth, Wellington, Whakatane and Whangarei. Regional Concerts & Other Events Akoka Quartet Rotorua, 20 April Wellington, 22 April Blenheim, 27 April Warkworth, 28 April Tauranga, 29 April Jian Liu (piano) Cromwell, 4 May Wanaka, 5 May Gore, 7 May Motueka, 10 May Blenheim, 11 May Whanganui, 16 May Putaruru, 20 May Rotorua, 21 May Gisborne, 23 May Level 4, 75 Ghuznee Street PO Box 6238, Wellington Tel (04) Fax (04) info@chambermusic.co.nz /ChamberMusicNZ For all Concerts Managers phone 0800 CONCERT ( )

19 A Special Thank You to all our Supporters Education: FARINA THOMPSON CHARITABLE TRUST Chamber Music New Zealand acknowledges all donations and support at branch level: Auckland: THE EDGE New Plymouth: TSB Community Trust Hawkes Bay: Eastern & Central Community Trust Manawatu: Eastern & Central Community Trust Wellington: Positively Wellington Venues Dunedin: Dunedin City Council Southland: Community Trust of Southland; Invercargill Licensing Trust Coffee supplier: Karajoz Coffee Company Chocolatier: de Spa Chocolatier Floral Supplier: Global Living Chamber Music New Zealand 2012 No part of this programme may be reproduced without the prior permission of Chamber Music New Zealand.

20 0800 CONCERT ( )