THEME volume 35 number 01 March 2017
Photo: Michael Uneffer
L’ARPEGGIATA: WHEN BAROQUE MEETS JAZZ The 2017 Kaleidoscopes Season is opening in grand style, thanks to early music legends, L’Arpeggiata. Considered chamber music “rock stars”, this ensemble has a reputation to turn every concert into a party, thanks to their inexhaustible energy and charisma. Forget the stereotype of shy early musicians: these artists are known for their improvisations that puts each member in the spotlight. Borrowing the name of a toccata by Italo-German composer Johann Hieronymus Kapsberger, Christina Pluhar set the direction of
L’Arpeggiata, showing her interest in plucked and strummed instruments. Its members are some of today’s most virtuosic soloists, who can boast collaborations with some exceptional singers from the baroque and the traditional music worlds. This 11-member period-instrument ensemble plays on mostly modern reconstructions of historical instruments; including Pluhar’s theorbo, Palviainen’s archlute and Sherwin’s cornetto. From its foundation, in 2000, the group set on a mission to revive an almost unknown repertoire of French,
Italian and Spanish composers of the Early Baroque. The group’s improvisational style also draws from the past, based on the research and study of manuals for teaching improvisation in the 17th Century. Pluhar admits to these written resources’ limitations: “There is something that you cannot find in the sources of the 17th Century, because music as it was written down was quite rudimentary. Much was left to the imagination, concerning... instrumentation, for example, which the composer usually left open. Improvisation was a very important
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FROM THE CHIEF EXECUTIVE Kia ora tātou Two years ago I asked harpsichordist, Douglas Mews, which early music group he would most like to hear in New Zealand. Without hestitation he said, “L’Arpeggiata”. So I started listening – and began with a disc called “All Improvviso” (literally “improvised”). What I heard delighted and surprised me – not just early music but jazz melded in the most natural and convincing of ways.
lament is built on a “ground bass”) that provide ample scope for improvisatory flair.
from abroad. What an opportunity for skilled New Zealand musicians interested in Baroque performance.
We’ve just learned that L’Arpeggiata have been nominated for a BBC Music Magazine award. These guys are hot and I’m thrilled that we’ve been able to bring them to New Zealand.
There’s lots of later music, too, of course – but I’ll write about that next time. I do hope you enjoy our 2017 season. If you haven’t already subscribed, please do so. Not only do you get all the benefits (financial and more) of being a subscriber but you help sustain CMNZ, enabling us to plan brilliant future seasons with confidence.
There is a bit of an early music strand running through our 2017 season. Another coup for CMNZ is to have the brilliant young musicians of Juilliard415 touring with Masaaki Suzuki, the foremost living exponent of Bach’s music. While they are here, CMNZ (in partnership with the New Zealand School of Music and the Nelson The programme that L’Arpeggiata is School of Music) will host a residential touring for CMNZ, “Music for a While”, workshop with Maestro Suzuki and takes its name from a beautiful Henry the Juilliard musicians across Queen’s Peter Walls Purcell song. Purcell is famous for Birthday weekend. As early applications Chief Executive recurring bass lines (Dido’s famous Chamber Music New Zealand roll in I can see that 50% of them are
...L’Arpeggiata Continued part: it was part of every musician’s education to be able to improvise, like jazz musicians.” For their New Zealand Tour the ensemble will present a wholesale rethinking of English composer Henry Purcell, with Music For a While. Often referred to as the “Orpheus Britannicus”, he’s arguably considered England’s greatest composer of the Baroque Era, flourishing in the period that followed the restoration of the monarchy after the end of Puritan rule. The programme will include pieces like “Dido’s Lament” that perfectly exemplifies Purcell’s use of the ground bass; as well as “Twas within a furlong”, a ballad of love and marriage with a hint of country swing, brought to life by Vincenzo Capezzuto’s expressive voice.
Photo: Michal Novak
Following the quest of ‘..constantly moving between the centuries in the harmonies and styles of the improvisations…’, L’Arpeggiata will re-imagine the repertoire according
to their unique style, blurring the border between historical and contemporary, fusing the theatre and court music of the 17th Century, with the improvisatory art of jazz. L’Arpeggiata Touring NZ: 15 – 22 March chambermusic.co.nz/larpeggiata
“For the openhearted listener ... It certainly worked, because the hall was not only sold out, but the audience raged with enthusiasm.” Nachrichten.at (Feb 2017)
Photo: Calvin Peter Photography 3 www.chambermusic.co.nz
Q&A WITH MARTIN RUMMEL Most great things are created or come into being because of necessity. The need to present uncompromising, diverse and fearless chamber music on the highest level is what sparked the creation of Ensemble Paladino, according to Martin Rummel, the cellist and founder of the ensemble. From Vienna to the other side of the world – what was the appeal of joining the faculty in Auckland? Mainly the challenge of being responsible for the School of Music’s development for a few years, especially with the advantage of knowing it through my earlier teaching position here. The sheer beauty of the New Zealand nature. The appeal of less traveling than the last decade. What’s the best advice you have ever received or the one you gave to your students? Two sentences from my teacher, William Pleeth (who also taught Jacqueline du Pré): “Being a cellist is not a profession, it is a lifestyle!” and “Miss it – but miss it beautifully!” You recorded a series of online cello lessons that can be found on
Vienna Virtuoso’s YouTube Channel. In your opinion, what’s the role of online courses in music teaching nowadays, and could they replace real life lessons? I do not believe that online lessons can replace face-to-face contact, but I am convinced that they are a fabulous supplementary tool. On one side, they give students access to internationally acclaimed people who they would otherwise probably not be able to meet (be it for financial or logistical reasons), and on the other side it is possible to re-watch technical advice, practice methods and other information that might get lost in a face-to-face lesson. I think that ultimately a combination of recorded and live tuition will be what benefits students most. As well as mostly a programme of music written in the Classical and Baroque periods you will be commissioning a work from Auckland based composer Leonie Holmes. What can you tell us about this? With my own background as harpsichord having been the first instrument I learnt to play when I was a child (my mother’s music teacher
was Harnoncourt’s harpsichordist), and Eric getting increasingly interested in playing period flutes, the idea to commission a contemporary work for a “historic” instrument seemed logic. I have heard fabulous new music for so-called historic instruments, and we both find that this is a genre that should be explored much more. You are partners both in life and work with Eric Lamb – how do you find a balance? We share a lot of musical ideals and values, and naturally we discuss a lot of musical issues in our daily life. We also share the fact that we enjoy nearly all aspects of our professional lives, which means that we do not need to “shut the door to the office” at 6pm. However, before we tried playing together five years ago, we decided that if it did not work within the first two minutes, we would never try again and just leave that bit out. It worked: We are still playing. Ensemble Paladino Touring NZ: 31 March – 29 April chambermusic.co.nz/ensemblepaladino
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Cheena Rae, (Brumoso) Semi-Finalist 2016 Contest photos: Andi Crown
Liam Fury, (The Wolf Gang) 2016 Senior Composition Winner
The Jac: L-R Lex French, Matthew Allison, Callum Allardice, Chris Buckland, Jake Baxendale, Shaun Anderson, Nick Tipping, Daniel Hayles
CONTEST 2017: CELEBRATING NZ’S YOUNG COMPOSERS Entries to the NZCT Chamber Music Contest are now open! It’s always exciting to see the huge range and variety of group instrumentation and choice of repertoire that is given an airing at the 15 Contest venues around the country in June. One major aspect of the Contest is the Original Composition Section which has seen some of NZ’s brightest composers begin to ‘flex their creative muscle’s – think Karlo Margetic, Salina Fisher, Claire Cowan, to name a few. “It’s an area of the Contest which often flies under the radar for many,” says Sue Jane, CMNZ’s Education and Outreach Coordinator and National Contest Organiser. “But some of the works that have come from these young composers has been truly beautiful and very powerful.”
SOUNZ Centre for NZ Music and CANZ (Composers Association of NZ) recognise this budding talent by sponsoring the Contest Composition Awards, as well as Performance Awards if these compositions are played as part of the Instrumental Performance Section of the Contest. “We always try and have the Winning Senior Composition played at the Contest National Finals Concert”, says Sue. “It can often be a real highlight of the concert.” The National Finals Weekend Saturday 5 August: 11am & 4.30pm Sunday 6 August: 3pm WELLINGTON Remember: Free entry for CMNZ Subscribers
The Jac draws on an impressive line-up of musicians, each with a diverse range of experience in various ensembles from the Roger Fox Big Band to the New Zealand Symphony Orchestra. Callum Allardice (guitar), Shaun Anderson (drums) and Jake Baxendale (alto saxophone) met while studying jazz at the New Zealand School of Music. “We’d come from pretty different musical backgrounds, but ended up playing together a lot because we were listening to - and attempting to play - a lot of the same music. When we got onto this large ensemble stuff, we didn’t know how to play it at all, so we asked our tutors to play it with us.” At this point the group was augmented by Lex French (trumpet) and Nick Tipping
KALEIDOSCOPES L’ARPEGGIATA 15 – 22 March A programme that fuses the theatre and court music of 17th Century London with the improvisatory arts of jazz. ENSEMBLE PALADINO 31 March – 29 April Uncompromising, diverse and fearless chamber music.
ENCOMPASS SERIES: THE JAC In May the jazz octet, The Jac, will tour to seven centres, with concerts presented by local music societies, music schools and the Southland Festival of the Arts.
COMING UP
(double bass), who were teaching at the NZSM, and later Daniel Millward (piano), Chris Buckland (tenor saxophone) and Matthew Allison (trombone) were found to be the right fit for the sound they were after. The repertoire of the group has been described as cinematic and sweeping, able to move from big band sounds to the playful and intimate sound of a jazz trio. Jake explains “I guess we were trying to get away from song-based form - the jazz standard with headsolos-head, around and around the same set of chord changes. We were listening to more throughcomposed music, and it appealed to us - we wound up with pretty long, epic, story-like songs from that, and it became a kind of signature sound.”
KATHRYN STOTT & NZSQ 7 – 18 May Renowned for her interpretations of French piano repertoire, Stott will join the New Zealand String Quartet for this national tour. MASAAKI SUZUKI & JUILLIARD415 26 May – 10 June Juilliard415 will join Maestro Masaaki Suzuki, for a programme that celebrates Bach and Handel.
ENCOMPASS NZTRIO 20 April – 7 May Three born and bred kiwis, known for their daringly eclectic programmes. THE JAC 5 – 17 May The power of a big band with the intimacy, playfulness and interaction of a small chamber jazz group.
The Jac Touring NZ: 5 – 17 May chambermusic.co.nz/thejac
Full concert details: chambermusic.co.nz/2017 0800 CONCERT (266 2378)
A LASTING LEGACY Here at Chamber Music New Zealand we are passionate about promoting the performance, appreciation, and enjoyment of chamber music. The support of our donors, in addition to the generosity of those who have chosen to leave a legacy with us, enables our varied work to reach right across New Zealand. Bequests support CMNZ in a spectrum of ways, from general support, to activities such as concert presentations, or the many life-long learning elements of our community and outreach programmes. As part of our Encore Supporters’ Programme, we are delighted to announce the launch of our Founders’ Circle – a bespoke means of recognition for those who have made provision for supporting CMNZ by making a gift in their Will.
A bequest costs you nothing today, but its impact will continue to give back beyond your lifetime. By choosing to leave a bequest to CMNZ, you have the opportunity to make a positive contribution to the lives of future generations as they discover the magic of chamber music. If you share our commitment, we would be delighted to welcome you into the Founders’ Circle.
Fred was instrumental in the forming of a national music federation – now known as ‘Chamber Music New Zealand’ and Arthur was the founder of the Chamber Music Contest along with New Zealander Joan Kerr in 1965. Their dedication and investment in quality chamber music in New Zealand is what we honour every day. The Founders’ Circle allows us - and now you, to continue what he started almost 60 years ago.
Why the Founder’s Circle?
Learn more about leaving a bequest
The Circle is named in honour of those who were instrumental in the establishment and growth of chamber music within New Zealand. Two such people that are key figures in Chamber Music New Zealand’s history are Fred Turnovsky and Arthur Hilton.
Contact Mandy Carian CMNZ’s Development Manager: mandy.carian@chambermusic.co.nz Phone: (04) 802 0755
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Around CMNZ:
CORE FUNDER Creative New Zealand
At the end of 2016 we said farewell to our New Plymouth Concert Manager, Susan Case, and our Hawke’s Bay Concert Manager, Liffy Roberts after many years of dedicated service.
SUPPORTING FUNDER NZCT
We now welcome newly appointed Hawke’s Bay Concert Manager, Rhondda Poon. Rhondda is also our Hawke’s Bay District Contest Organiser. We also welcome back Pip Want as Wellington District Contest Organiser. Pip previously worked for CMNZ as the National Organiser of the NZCT Chamber Music Contest, before leaving to have her family. Pip says, “I’m excited to have the opportunity to get involved with the Contest again, and look forward to hearing the incredible talent that is out there.”
Opportunities: 2017 NZCT Chamber Music Contest applications are now open. Apply online before 3 April 2017 chambermusic.co.nz/contest Applications for the Bach Cantata Residency with Masaaki Suzuki and Juilliard415 in Nelson will close on 10 March 2017. Apply online at chambermusic.co.nz/bachworkshop2017
News: NZTrio violinist, Justine Cormack, is leaving the ensemble after 15 years. We wish her the best of luck in her future adventures! NZTrio will tour together one more time from 20 April to 7 May as part of the CMNZ Encompass Regional Series – make sure to catch this!
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CORPORATE PARTNERS Nelson Pine • Phantom • The University of Auckland ABRSM • KBB Music • Fraser & Sons Ltd FUNDING PARTNERS Foundation North • Stout Trust Deane Endowment Trust • IHC Foundation The Lion Foundation • The Wallace Foundation • TSB Community Trust Pub Charity • Invercargill Licensing Trust • Community Trust of Southland Rātā Foundation • Wellington City Council • Eastern and Central Community Trust Otago Community Trust • Four Winds Foundation Wellington Community Trust • Nikau Foundation • Trust Waikato Turnovsky Endowment Trust • Timaru District Council NZ France Friendship Fund • Auckland Council CHAMBER MUSIC NEW ZEALAND Level 4, 75 Ghuznee Street, P.O. Box 6238, Wellington Tel (04) 384 6133 Email info@chambermusic.co.nz Website www.chambermusic.co.nz BOARD Lloyd Williams (Chair), Paul Baines, Quentin Hay, Gretchen La Roche, Matthew Savage, Sarah Sinclair, Vanessa Van den Broek, Kerrin Vautier BRANCHES Auckland: Chair, Victoria Silwood; Concert Manager, John Giffney Hamilton: Chair, Murray Hunt; Concert Manager, Gaye Duffill New Plymouth: Concert Manager, TBC 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: Chair; TBC Concert Manager, Jody Keehan Dunedin: Chair, Terence Dennis; Concert Manager, Richard Dingwall Southland: Chair, Rosie Beattie; Concert Manager, Jennifer Sinclair For all Concert Managers phone 0800 CONCERT (266 2378) Regional Presenters located in: Marlborough Music Society Inc (Blenheim), Cromwell & Districts Community Arts Council, Musica Viva Gisborne, Music Society Eastern Southland (Gore) Greytown Music Group, Arts Far North (Kaitaia), Aroha Music Society (Kerikeri), Chamber Music Hutt Valley, Motueka Music Group, South Waikato Music Society Inc (Putararu), 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.
“The only advice I could give to those lucky musicians who get to participate in the residency is to enjoy making beautiful music together!” – Alana Youssefian, Violin (Juilliard415)
JUILLIARD415: A Day in the Life From movies, to the media, The Juilliard School’s reputation spreads far and wide. But what’s really like to be part of the Juilliard family? We talked to violinist Alana Youssefian, one of the 20 Historical Performance students that will join maestro Masaaki Suzuki for a twoweek NZ tour. First of all, do you know anything about New Zealand? The little I know about New Zealand is based on my avid interest in Lord of the Rings and Flight of the Conchords. I am so happy I get to see it! Tell us a little about what it is like to be a Juilliard student. The Juilliard schedule is very rigorous in the best way, especially for Historical Performance. Since I live off campus, I spend most of my day around Lincoln Center. Juilliard students are surrounded by Alice Tully Hall, the New York City Ballet, and The MET Opera House, all of which offer affordable tickets for most of their shows. It’s nice to get a break every once in a while to see a production of a different discipline from what you study. I learn so much from watching other people perform, so being here has been more inspiring than I could have ever imagined. Can you give us a “Day in the life” of a Juilliard student? Days at Juilliard can be more relaxed or jam-packed depending on what
performances and events we have. Typically I get to school when it opens and get some practicing in when the school is quieter. Some mornings I will have a class, lesson, or work at the admissions office (if anyone has called Juilliard you may have talked to me!), and other mornings I have plenty of time to get my individual work done early. The classes are pretty intense but extremely helpful for perfecting your musicianship. J415 has rehearsals anywhere from 2-6 hours varying days of the week. Sometimes we rehearse for different programs at the same time and the players have to switch between instruments, pitches, and temperaments, so focus and preparation are key. The evenings are usually free, leaving plenty of time to practice, rehearse, or go see a show in Lincoln Center! What sparked your interest in Historical Performance? It started during my undergraduate studies; My private teacher was a phenomenal modern and baroque violinist and offered a course of beginner baroque violin. Before then I struggled to make most baroque and classical music not sound like Tchaikovsky, and figured the class would at the very least give me an insight to how the performance practice influenced the style of that music. It turned out the gut string sound world and technique called to me, and six years later I’m a historical performance specialist.
Have you played with Masaaki Suzuki before? I played with Masaaki Suzuki for the first time last Fall in another joint concert with Yale. I heard so many great things about him before that, and he lived up to all of them! Along with the Kaleidoscopes Tour you’ll take part in the Bach Cantata Residency, with Masaaki Suzuki. Have you been involved in this sort of Residency before? I work quite a bit with vocalists, and vocal projects are so much fun to be a part of. While instrumental music is amazing, the addition of text to music makes every experience so special. The only advice I could give to those lucky musicians who get to participate in the residency is to enjoy making beautiful music together! Masaaki Suzuki and Juilliard415 Fri 26 May, 7.30pm Sat 27 May, 7.30pm Sun 28 May, 5pm Tue 30 May, 7.30pm Wed 31 May, 7.30pm Thu 1 June, 7.30pm Sat 3 June, 7.30pm Wed 7 June, 7.30pm Fri 9 June, 7.30pm Sat 10 June, 7.30pm
Auckland Hamilton New Plymouth Wellington Palmerston North Hawke’s Bay Nelson Christchurch Invercargill Dunedin
Bach Cantata Residency 3 – 5 June
Nelson
Applications are now open. chambermusic.co.nz/bachworkshop2017