Brodsky Quartet credit Ben Ealovega
March2015 2015 1 volume 33 number 01theme | March
“What is so striking about the playing of the Brodsky Quartet is their brimming love for the music.” - Gramophone
Written & Compiled by Catherine Gibson
BRODSKY QUARTET: “a potent mix”
Opening the 2015 Kaleidoscopes Season is the UK based Brodsky Quartet. They began life in 1972, when cellist Jacqueline Thomas and her violinist brother Michael were still at school in Middlesbrough, England. They went on to study at the Royal Northern College, already as an established ensemble. Violist, Paul Cassidy then joined them on graduating from the Royal College of Music. In a 2012 interview with Helen Wallace (Financial Times), he said, “I immediately knew when I met them this would be my life’s work. If you meet the right people, it’s like a marriage, it’s solid.” Indeed, the partnership extends beyond the music: Paul and Jacqueline married in 1990 and have two daughters. Violinist Ian Belton is an original member of the Quartet and Daniel Rowland replaced Michael Thomas in 2007. Since then the Brodsky Quartet has performed almost 3000 concerts on the major stages of the world and released more than 60 recordings. The Quartet’s passion to embrace “all good music” has been the driving force behind their success and has kept both their approach fresh and the group at the forefront of the international chamber music scene. They have a deep love and mastery of the traditional string quartet repertoire, as evidenced by their extensive, premier
discography. At the same time, the Brodsky Quartet are known for their pioneering work with a diverse range of performing artists, from singers Elvis Costello, Anne Sofie von Otter and Björk, to Complicite Theatre Company and Icelandic poet Sjón. Their many collaborations with distinguished composers, including John Tavener, Lutosławski, Peter Sculthorpe, Django Bates, Sally Beamish, Dave Brubeck and Julian Nott, have given them an unrivalled opportunity to influence and inspire some of the newest work for string quartet. They have received various awards for recording include the Diapason d’Or and the CHOC du Monde de la Musique for their recordings of string quartets by Benjamin Britten and a Royal Philharmonic Society Award for their outstanding contribution to the world of music. The Brodsky Quartet is ‘Quartet in Residence’ at London’s award winning concert venue, Kings Place and have begun their own 2015 season with a tour of Holland and Belgium - motherlands of two of the Quartet, respectively Daniel and Jacqueline. The Brodsky Quartet have visited New Zealand twice before, but this is the first time they have embarked on a full ten centre tour for CMNZ. Continued page 2
From the Chief Executive
2 www.chambermusic.co.nz
It is seventeen days since I took up the role of Chief Executive at Chamber Music New Zealand, following my good friend Euan Murdoch who has now moved to the position of Director of the New Zealand School of Music. Given that I was for a time the Head of the Victoria University School of Music there have been a few jokes about playing musical chairs – but I am very glad to be inheriting, so to speak, such a vibrant organization from Euan, and pleased, too, that he will be doing his utmost to promote the highest standards of advanced music education in Aotearoa. This is quite a special year for New Zealand music. “Lilburn 100” – the centenary of Douglas Lilburn’s birth – is a good time to take stock of the musical achievements of this now not-so-young country and to focus on the wealth of young talent that we have here. Our Composer Connections series coming up will do exactly that. There is, though, another really important anniversary: this is the 50th jubilee year of the NZCT Chamber Music Contest. This contest has been part of the musical development of huge numbers of New Zealand musicians. But first, the Brodsky Quartet. I am so looking forward to concerts by this wonderful group. Their programmes include late Beethoven (the touchstone for all great string quartets) and span early music (Purcell) to Britten and Shostakovich. These are concerts not to be missed.
“We are thrilled to have secured the services of Peter; he is passionate about chamber music and is an incredibly experienced classical music manager. We are excited about what the future holds!”
The Brodsky Quartet (continued from page 1)
The Brodsky Quartet’s violist, Paul Cassidy talked about their upcoming tour to New Zealand and string quartet life in general. “This is our 3rd visit to NZ but that doesn’t make it any the less exciting! Chamber Music New Zealand is one of the most important institutions in the world. We are thrilled to be coming back and getting a chance to experience your extraordinary country again. A miniature of the whole world in two Islands….how did you manage that!!?? Quartet life these days is so much more exciting than ever before. There is massive competition but the world at large have finally realised the versatility, power and beauty of this formidable force. It’s the best way to make music. It’s an endlessly absorbing journey and every day, working closely with other people, doing something you are passionate about is a valuable life lesson in survival. Opportunities are there if you are brave, open and honest. A generous dollop of humility goes a long way.” What makes the Brodsky Quartet unique? “Right now the chemistry is good. Four individual ingredients coming together to create a potent mix. Long may it continue!” The Brodsky Quartet are currently the International Fellows of Chamber Music at the Royal Conservatoire of Scotland and at the beginning of February this year they were at the Liszt Academy of Music in Budapest for a concert and masterclass. “We have always given time to education. We were the first ever quartetin-residence at Cambridge University back in 1984 and have held numerous posts at universities and conservatoires the world over. Following their tour for Chamber Music New Zealand the Brodsky Quartet will be heading to Sweden for a series of concerts. You can follow the Brodsky Quartet here: http://brodskyquartet.blogspot.co.nz
Roger King, chair CMNZ Trust
Live at 6 presented in association with the
theme March 2015 3
SOUNZ like Lilburn The composer so often quoted as the grandfather of New Zealand music, Douglas Lilburn, has surely reached a grandfatherly age this year, as we celebrate the centenary of his birth. Douglas Lilburn, who was posthumously inducted in the New Zealand Music Hall of Fame at the 2014 APRA Silver Scroll Awards, holds a special place in New Zealand musical history and his works are closely linked to New Zealand surroundings and culture. “This year New Zealand celebrates the centenary of his birth - our very first ‘modern’ composer centenary. Contemporary classical composition in New Zealand owes a huge debt of gratitude to Lilburn and his work and we look forward to sharing this opportunity to celebrate his memory. In celebration of Lilburn, SOUNZ will promote events where his music, or music inspired by him, will be performed throughout 2015. There is a page of Lilburn events and information at SOUNZ online and social media posts will be tagged with the #Lilburn100 hashtag. SOUNZ catalogue includes extensive examples of Lilburn’s works, available for hire or purchase, along with a selection of streaming audio and video of performances of Lilburn’s music. Throughout the year SOUNZ will continue to curate Lilburn-themed resources, so stay in touch for updates by visiting sounz.org.nz.”
Emerging composer Salina Fisher is writing a new work ‘Unfinished Portrait’. This is her personal musical response to a selection of letters and poems from artist Rita Angus to iconic NZ composer Douglas Lilburn and to the remaining fragments of Rita’s unfinished portrait (abandoned) of Douglas which she began painting in 1946 - Mimosa Ensemble In partnership with the New Zealand Symphony Orchestra Lilburn’s Wind Quintet will be performed by Zephyr, alongside the Aotearoa Overture and A Birthday Offering, at the Michael Fowler Centre on 2 November, as part of the birthday concert presented in collaboration with the NZSO and SOUNZ.
Julie Sperring, Executive Director of SOUNZ Centre for New Zealand Music
The Lilburn legacy carries on through our NZ composers today, with Douglas Lilburn’s influence celebrated at every performance of NZ music. The CMNZ Kaleidoscopes Season begins its focus on New Zealand Music with Our Music in May, in association with SOUNZ. This collaborative tour also includes residencies at Victoria University of Wellington, University of Waikato and the University of Auckland and with an opportunity for amateur ensembles to perform on our main stages. (see page 5)
In February the Institute of Registered Music Teachers, IRMT(NZ) held their annual conference in Wellington, celebrating ‘Lilburn’s Legacy, Fostering musical creativity’. Over the four days there were masterclasses and lectures given by eminent New Zealand composers and performers. The various sessions focused on exploring Lilburn’s inspiration and influence, our NZ musical identity and on musical creativity in our world today.
But it is not only in our Concert Season where NZ composers are celebrated. The Chamber Music Contest includes an Original Composition Section, sponsored by SOUNZ and CANZ (Composers Association of New Zealand). 2014 saw an impressive 34 entries (22 Senior and 12 Junior) from across the country. We are proud to be encouraging our emerging composers as part of the Chamber Music Contest and look forward to what 2015 brings.
In acknowledging ‘Lilburn 100’, Chamber Music New Zealand is very pleased to be featuring Douglas Lilburn and other New Zealand composers in our 2015 Season (see below).
There is also a SOUNZ award for the Best Performance of an Original Composition for composers who also choose to enter their composition in the Performance section and a National Award for the Best Performance of a New Zealand Work.
This year audiences will be able to hear the following works by Douglas Lilburn: Kaleidoscopes Concert Season: Diversions for Strings; Allegro for Strings - Turnovsky Jubilee Ensemble Sonata for Violin and Piano (1950) - Natalie Lin and John Chen, CLiK the ensemble Chaconne - Michael Houstoun
Encompass Regional Concerts: Sonata for Violin and Piano (1950) - Andrew Beer and Sarah Watkins Sonatina for clarinet and piano - Menagerie South
www.chambermusic.co.nz
CONTEST ALUMNI: The Ripple Effect Marcus Jackson SOUNZ Original Composition Award 2011 ‘Memoirs of a Forgotten Soul’ 2012 ‘While Dreamscapes Stagnate’ (Senior Section) Two times winner of the SOUNZ Original Composition Award, Marcus Jackson continues his connection with the Contest by writing for school groups in the Hawkes Bay District. In 2014 Marcus composed ‘goyishe’ for the Goyishe Quartet, and in our 2015 Jubilee year Marcus has written a piece called ‘You Smell of Asphalt’ for a Lindisfarne College group (unnamed as yet) and another work for the Goyishe Quartet called ‘Lung’. This continued involvement with the Contest as his music studies progress is a wonderful demonstration of the positive ripple effect that the event has on so many New Zealanders. Marcus is currently in his second year of studying Composition at the New Zealand School of Music, with a focus on instrumental and vocal composition, and computer music. He learnt flute and piano throughout high school, and is particularly interested in chamber music works. He has also had pieces workshopped by the Auckland Philharmonia Orchestra. Marcus shares a little of his experience with the NZCT Chamber Music Contest: On performing and composing for the Contest... “My first experience in the Contest was playing flute in a Bodinus quartet in 2009, which I whole-heartedly enjoyed, and can still remember how to play, but baroque music has never really been my thing. So in 2011 I turned to writing my own piece, Memoirs of a Forgotten Soul for flute, clarinet and piano to perform. I enjoyed the experience so much I wrote again in 2012 for flute, violin, cello and piano, a piece called While Dreamscapes Stagnate.”
On what it is like to perform your own work and to write for specific performers: “Performing your own works is a completely mind-opening experience; you come out with an understanding of what you put into the music that maybe you didn’t understand before. Further, performing in a group is even more intense, because suddenly you have to be able to explain and justify every minute feature of the piece. Generally, I tried to write with the players in mind. Whilst it’s important to push performers, it’s also important to consider their strengths and weaknesses, likes and dislikes, as it will always result in a more convincing performance. Being at University, you are constantly being re-educated as to what music is and so, writing for a group allows you a chance to apply that to a real-life performance. You’re given a chance to take these ideas you learn about theoretically and see how real performers make light of them. A lot of the time I use techniques that sit on the periphery of standard composition, like looping repetitive cells in different time signatures, or writing gesture into the work. I love when players cross the boundary of being simply onstage to involving the stage and visuals in the performance. I like players to move around, lights to go on and off, and big gestures. Music is just as visual as it is sonic. Aside from that, new ways of notating sound often feature in my works – I don’t think composers should be bound by the five-line stave and clef combo all the time.” Any advice for the 2015 Contest composers? “My advice for composers entering the contest is not to be intimidated by the amount of music you have to write. One fragment, one sound, half a motif is enough to start a composition. Draw a picture, or even hack at a page with a pencil and imitate the result in sound. Write something that you’d want to play.”
Join The Alumni Have you ever been involved in the Chamber Music Contest in any way? Our Alumni includes people of all ages who have been involved since it began in 1965! Join the Contest Alumni and get the latest information on how we’re marking the 50th Jubilee as well as insider scoop, social get-togethers , special offers and more. Sign up at: chambermusic.co.nz/contest-alumni
theme March 2015
OPEN STAGE: This could be you
By Candice de Villiers, CMNZ Marketing and Communications Coordinator
From L to R: Richard (dad) plays bass, piano and guitar. | Laura (13) started piano at 7 and is now learning guitar. Laura sings beautifully and enjoys performing on stage.Sophia (10) started piano at 7 and has recently started flute lessons. Sophia is also a fabulous ukulele player and singer. | Susie (mom) plays flute, a little piano, is learning guitar, sings and conducts choirs.
Here at CMNZ we often refer to chamber music as being music for friends, created by friends. Well, this May we’re pretty excited to be inviting more of our friends to get on stage and create music together - you!
What would you say to other amateur musicians out there thinking about giving it a go? “This is your chance - take it! Music is our birth right; don’t let anyone tell you otherwise.”
During NZ Music Month we’re opening our main stages in each Kaleidoscopes Concert centre for amateur musicians of any age and ability to get a group together and perform in a lunchtime concert. Registrations to take part open on 27 March but we already have been getting lots of interest from music lovers across the country. I recently got in touch with the Hardie family, who are planning on taking part in Wellington, and found out why the whole family is getting excited about OPEN STAGE…
If the Hardie ensemble were a world famous ensemble would you have any outrageous performance demands? “Pizza and mud cake in the dressing room before we go on stage! (This is the girls’ idea)”
What music making do you normally do as a family? “We sing around the piano (Dad playing). Sometimes Susie and Sophia play flute duets.” What excites you about the idea of taking part in CMNZ’s Open Stage? “We’ve never had the opportunity to perform on stage as a family, so this is exciting! We will find it a challenge to find music that will work for our different instruments and abilities, but we feel up to the challenge. Hopefully it will bring us together as a family and give us a focal point for our rehearsals!”
So as the Hardie’s say, “this is your chance – take it!” We can’t promise you pizza and mud cake but can promise you fun making music with family or friends.”
Open Stage This is your moment!
Have you come up with a name for your ensemble? “Laura loves The Sound of Music and said we could be the ‘von Hardies’ ... we’re still working on an official name!” Any idea on what you might perform? “We’re looking for an early classical/baroque piece for 2 flutes and piano (4 hands on piano) and perhaps a funky jazz piece with Richard on bass, Sophia on ukulele, Laura on piano and mum on flute! They will be short, fun pieces in a variety of styles.”
What are you waiting for?
Find out all about how you can take part at www.chambermusic.co.nz/openstage or call us on 0800 266 2378
6 www.chambermusic.co.nz
Letter from… London
by Victoria Simonsen, cello (Contest winner 1999, with Elysian Quintet, Auckland)
In June New Zealand cellist, Victoria Simonsen will be joining the Turnovsky Jubilee Ensemble to tour to fifteen centres as part of our special Jubilee Kaleidoscopes Concert Season. Victoria now lives in London, having developed a successful professional career that encompasses solo and chamber ensemble work and playing in the world renowned Philharmonia Orchestra. As part of our series ‘Letter from…’, Victoria has reflected on her journey as a musician and her professional life in London. “I remember completing scholarship application forms as a young student in Auckland and encountering the inevitable question, ‘What is your ultimate aim in music?’ My first thought was always how on earth am I supposed to answer that comprehensively as a mere 16-year-old? I would then write something about desiring a career that combined solo, chamber music and orchestral playing. Whether by fate or design, it transpires that 15 years later I am doing exactly that, albeit on the other side of the world. An ‘average day’ for me doesn’t exist. About half of my work is performing as a member of the renowned Philharmonia Orchestra, whom I first heard when they toured to Auckland in 2000. The orchestra is based at the Royal Festival Hall in London and performs about 170 concerts a year in the UK and throughout the world with some of the world’s greatest conductors and soloists, as well as recording scores for films, CDs and computer games. The rate at which the orchestra speeds through repertoire is incredible. Nine hours of calls per day is not unusual (that is, rehearsals and concerts for several different projects, not including personal practise time) and the orchestra’s travel is not provided within the UK, so my day may also start and finish with quite a few hours driving on a motorway. It’s amazing how, especially after an exceptionally tiring day travelling internationally, everyone somehow digs deep and manages to produce an electrifying performance. The remainder of my work consists of solo and chamber music recitals (I recently joined the Rautio Piano Trio), guest work with other UK orchestras and frequent recording sessions for film and television – anything from Hollywood blockbusters or the latest BBC drama to sampling sounds for an audio library. I am thrilled to return to NZ in June for the Turnovsky Jubilee Ensemble tour. The Chamber Music Contest played a very important role in inspiring me to become a professional musician. I am particularly looking forward to collaborating with the other musicians: for example, Wilma has known me since I was a little girl, having worked earlier in her career with my mum and Gillian coached me for several years when I was a student at the Adam Chamber Music Summer School in Nelson. My initial experience of the contest was in 1996 during my first year of secondary school, playing Dvorak’s Dumky Trio with Julia Joyce and Justin Bird. My last year was in 1999 when we won performing Dvorak’s Piano Quintet with the same players, plus Sophie Bird and Fiona Cochrane. It felt like a massive personal journey over those few years but also with a nice sense of coming round full circle. My lasting memory of the Contest is the exhilaration felt performing on stage at the national finals in Wellington Town Hall and the elation of winning
after putting in so many hours of hard work. We had a real sense of camaraderie within the Elysian Quintet, having worked together intensely over the year to arrive at that point. We are all still in touch today even though we are spread across the globe! From a more personal view, I felt inspired that one of my other groups in the 1999 national finals was performing a string quartet that I had composed especially for this contest - learning how to operate concurrently as both performer and composer was an interesting challenge. This contest is particularly special because it reaches young musicians throughout the country at different stages of development. There is nothing like this in Europe that offers such all-inclusivity to musicians of this age group; with this contest you don’t have to enter with the expectation of reaching the finals, it is more about the individual journey and learning how to interact both musically and personally with your fellow performers. I now have the privilege to be on ‘the other side’ coaching young musicians through a variety of work, from education projects with local school children to being the cello tutor for the European Union Youth Orchestra which is a highly competitive course where they study both orchestral and chamber music works intensively. Having lived in Europe for 12 years and in London for 7 years, I can see how fantastic it is for the students in Europe to grow up in such a rich cultural environment with so many opportunities available to them, although it’s also interesting to observe that they often don’t realise quite how lucky they are - I think New Zealanders are fortunate in that we can see the world through a slightly different lens. Having said that, progress in technology means that NZ students today have effectively the whole world at their fingertips. Sources such as YouTube, live podcasts, online tutorials and sheet music libraries are all invaluable sources of information. Very recently I started teaching one-to-one lessons online (admittedly with some trepidation) via a new UK website called Musical Orbit. It’s quite astounding to think that students nowadays can have lessons with a teacher in a completely different country from the comfort of their own home. Though I draw the line at performances – the Internet is great but attending live concerts is an experience that can never be replaced!”
theme March 2015 7
Congratulations to: Hugh Roberts, flute (Contest winner Genzmer Trio 2010; Mimosa Ensemble July-August, Encompass Regional Concerts) who was awarded 2nd prize at the 2014 Gisborne International Music Competition.
Auckland Concert Manager: Ros Giffney has resigned to take on the role as Acting Programme Manager for Sistema. We wish her well and are pleased to announce that Ros’s husband John Giffney is our new Auckland Concert Manager and Ros will now be a volunteer. Go Team Giffney!
Alumni Correspondent Intern: Salina Fisher (Contest winner 2007, 2008, 2010, composer for Mimosa Ensemble) is our Alumni Correspondent Intern for the Contest Jubilee celebrations. Salina has also just been appointed as the new Resound Audio Curator at SOUNZ, Centre for New Zealand Music.
Ten Days of Chamber Music: Chamber music lovers flocked to Nelson
Menagarie South
once again across January and February to be part of the Adam Chamber Music Festival and the Adam Summer School. The CMNZ blog played host to some of the festival goers where they shared their experiences of the Festival goings on. Read them at chambermusic.co.nz/blog
Core Funder
Creative New Zealand
Supporters
ABRSM • APRA AMCOS • ASB Community Trust Asia New Zealand Foundation • Auckland Live • Base Two Canterbury Community Trust • Carolyn & Peter Diessl Community Post • Community Trust of Southland Deane Endowment Trust • Dragon Community Trust Dunedin City Council Eastern & Central Community Trust Endeavour Community Foundation Farina Thompson • Charitable Trust • Four Winds Foundation IHC Foundation • Infinity Foundation Invercargill Licensing Trust • KBB Music • KPMG Marie Vandewart Trust • McDermott Miller Strategies New Zealand Community Trust • Otago Community Trust Phantom Billstickers • Positively Wellington Venues Pub Charity • Royal Over-Seas League • SOUNZ • Sparks Interactive The Lion Foundation • The Southern Trust • The Stout Trust Trevkel Music Trust • Trust Aoraki • TSB Community Trust Turnovsky Endowment Trust • Victoria University Wallace Arts Trust • Wellington City Council Accommodation Suppliers Crowne Plaza Auckland Nice Hotel, New Plymouth • County Hotel Napier InterContinental Wellington Coffee Supplier: Karajoz Coffee Company Chocolatier: de Spa Chocolatier Wine: Tohu Wines CHAMBER MUSIC NEW ZEALAND Level 4, 75 Ghuznee Street, P.O. Box 6238, Wellington Tel (04) 384 6133 Fax (04) 384 3773 Level 3, 57 – 61 High St, PO Box 1425, Auckland Tel (09) 358 3589 Email info@chambermusic.co.nz Website www.chambermusic.co.nz
John Van Buskirk (piano), Tessa Petersen (violin), Mark Walton (clarinet/saxophone)
ENCOUNTER
Julian Raphael, Facilitator for our accessible concerts, will be working and performing with Menagerie South at Hohepa in Christchurch (May) and then with Trio Amistad in Porirua (September). Audio described concerts and a touch tour are planned for the Turnovsky Jubilee Ensemble’s performances in Auckland and Dunedin. We will again celebrate Matariki; and the Mimosa Ensemble will take part in a week long residency based out of Hutt Valley High School, in association with Chamber Music Hutt Valley.
ENCOMPASS REGIONAL CONCERTS
NZ pianist Nicola Melville (based in the USA) returned home with a programme that included three new NZ works in memory of Judith Clark. Concertmaster of the APO, violinist Andrew Beer and NZTrio pianist Sarah Watkins will perform in March – April (and again in June). On the road in April are Menagerie South with their programme ‘Heritage Salutes’ and the New Zealand String Quartet. The NZSQ with pianist Stephen De Pledge will also give the premiere performance of Piano Quintet by Ross Harris (commissioned by Peter and Carolyn Diessl) as part of the Wellington Chamber Music Trust’s Sunday Series. (3pm, 26 April, St Andrew’s on the Terrace). Wellington based Trio Amistad with Rebecca Steel (flute), Simon Brew (saxophone) and Jane Curry (guitar) will be performing in May. Check our website for more details about our Encounter and Encompass events.
BOARD Roger King (Chair), Paul Baines, Gretchen La Roche, Sarah Sinclair, Lloyd Williams, Vanessa Van den Broek BRANCHES Auckland: Chair, Victoria Silwood; Concert Manager, John 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, Virginia Warbrick Wellington: Concert Manager, Rachel Hardie Nelson: Chair,Annette Monti 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 For all Concert Managers phone 0800 CONCERT (266 2378) Regional Presenters located in: Blenheim, Cromwell, Gisborne, Gore, Kaitaia, Kerikeri lower Hutt, Raniora, Putaruru, Motueka, Rotorua, Taihape, Tauranga, Upper Hutt, Waikanae, Waipukurau, Wanaka, Wanganui, Warkworth, Wellington, Whakatane and Whangarei. © Chamber Music New Zealand 2015 No part of this publication may be reproduced without the prior permission of Chamber Music New Zealand.
www.chambermusic.co.nz 8 www.chambermusic.co.nz
Two times winners of the Contest and the Wallace Arts Trust Prize were the string quartet, Geist from Westlake Girls High School, Auckland. Following their Contest National Final performance in 2012 they received an invitation to perform at the New Zealand Music Festival in Shanghai. This was an incredible international touring opportunity for a school age group: “Chamber Music New Zealand has had a big impact in my life. It has given me breathtaking experiences and has opened my eyes to a world of music that I would never have reached as a solo performer. Not only meeting wonderful musicians and friends, this contest has enriched my love for music and has ensured me that music will always be my life.” Britta Balzat, violin (Geist)
50th Jubilee Appeal Core Patron Sir James Wallace
2015 is the Chamber Music Contest’s 50th birthday year! The Chamber Music Contest was founded in 1965 by Viennese émigré Arthur Hilton and New Zealander Joan Kerr. It is open to secondary school students nationwide; a model unique to New Zealand and envied by many around the world. Our anniversary year will be a celebration of youth, community and wonderful music making featuring Contest Alumni from around the world. Many of the planned events, and indeed the very future of the Contest itself, would not be possible without the generous support and foresight of our 50th Jubilee Appeal donors, of whom Sir James Wallace is the core patron.
The connection with Sir James goes beyond the Contest. The prize winners of the Wallace National Piano Competition are considered for an Encompass Regional tour with Chamber Music New Zealand. This year the 2013 overall winner, Jason Bae will be touring to eleven regional centres around New Zealand. Sir James comments: “The most exciting and rewarding ‘investments’ we make each year come by way of supporting youth. The Wallace Foundation’s support of the annual Chamber Music New Zealand Contest is, I feel, particularly worthwhile. The musical excellence demonstrated in competition is always accompanied by great camaraderie and an obvious joy demonstrated by the participants. The health and on-going vitality of our senior musical organisations is guaranteed by the growing excellence of young musicians.” Please join us in the giving the gift of chamber music to young New Zealanders by donating to the Jubilee Appeal, establishing a new $250,000 endowment to ensure the future of the contest.
Sir James is a wonderful advocate of the arts in New Zealand. As well as being our Core Patron for this Jubilee year, Sir James has been a generous supporter of Chamber Music New Zealand over many years. In 2006, the Wallace Arts Trust Prize was introduced into the Contest and presented to each member of the overall winning group for that year. The aim of this prize is to support young chamber musicians in their continued endeavours: “Winning the contest was not only a huge honour, but also a really helpful financial boost. The Wallace Arts Trust Prize enabled me to buy a new viola bow allowing me to develop greater technical skills as a musician.” Bryony Gibson-Cornish, viola (Contest winner 2007 & 2008, Turnovsky Jubilee Ensemble 2015) The ethos of the Contest is to encourage young musicians regardless of standard or experience, to perform together and strive towards excellence. It allows for musical activities within schools to have a link with the wider community at both a local and national level. It is also an important pathway for our emerging musicians that can lead onto other opportunities.
CMNZ produces a printed newsletter posted free to subscribers, and made available for free download. Send us your email address and we will alert you when the latest version of Theme is available online. Send your request to info@chambermusic.co.nz, and enter in the Subject line "Theme alert".