New Zealand Opera takes a walk on the wild side

APRIL 2002 NO. 19
Postage Paid
Wellington NZ
Permit
No.4638
NEWS
The Journal of the
Centre for New Zealand Music
Toi Te Puoru
SOUNZ NEWS is a publication of the Centre for New Zealand Music.
PO Box 10 042 Wellington New Zealand
New Zealand Opera takes a walk on the wild side
Wild Opera Showcase – 22 May 2002
“I waited painstakingly until I thought I was technically proficient enough to produce a work worthy of the title,
"opera". So now that I've been given this opportunity, I'm honoured, thrilled, flattered, and above
all excited beyond belief!” This was Gareth Farr's reaction on hearing that his proposal had been
selected for Wild Opera.
Wild Opera is a project managed by SOUNZ and funded by Creative New
Zealand through its Future Strengths strategy. It has been set up to encourage
professional productions of New Zealand opera and comes from the need to
find ways to spread the financial and artistic risks of presenting new opera. The
success of the project will be measured by the willingness of opera companies
and funders to commission and present the works. It is hoped that at least
one proposal will be commissioned, and that, through collaborations between
festivals, sponsors, promoters and companies, all showcase presentations
will be developed further or scheduled for future performances. Eve de
Castro Robinson, who is planning an opera about artist Len Lye, points out,
“Embarking on any large scale work with no promise of performance is both
financially and creatively draining. One of the major benefits of this scheme is
that it takes a project to the next stepping-stone.”
Rachel Clement
Gareth Farr
David
Farquhar
Michael
Williams
Aaron
Lloydd
Following an extensive consultation process, requests for proposals were made
at the end of last year. Thirty submissions were received and an expert panel met
in January to choose works for the May showcase. Seven proposals were chosen
and creative teams took part in a seminar in March to discuss effective ways of
Eve de Castro Robinson
presenting their works.
John Rimmer
Richard Greager, one of the selection panel, noted, “The range of works we received was staggering. Considering that Wild Opera is a
new initiative, we were impressed by the generally high quality of the proposals which displayed a good understanding of what we hope
to achieve through this project. The Panel was able not only to select proposals in different stages of development – from concept to
completed work – but also works that will appeal to new and established audiences.”
(Brief descriptions of the selected proposals appear on Page 2)
1.
WILD OPERA SHOWCASE
Eve de Castro Robinson /Roger Horrocks –
Len Lye
aviatrix flies off and makes the hardest choice
of all.
Photographer Mary Brown. Courtesy of the Len Lye Foundation
Rachel Clement
– JAM
Len Lye is an extraordinary
New Zealand artist with
a major international
reputation. Until recently,
he has been little known
in the country of his
birth, but 2001 – his
centennial year – has seen
his reputation take off
into the stratosphere. The
public has often been
fascinated by lives of
'Len Lye in Sydney' c. 1925
artists – from opera such
as La Bohème to popular
films such as Amadeus and An Angel at my Table. The story of
Len Lye incorporates the key elements of the genre: the artist’s
Photo courtesy of Christchurch Press Co.Ltd.
JAM has been
commissioned
and developed by
Canterbury Opera
with a grant from
Creative New Zealand.
It will premiere on
16 August 2002 at
the Repertory Theatre
in Christchurch.
Margaret Mahy, Rachel Clement
and Rebecca Noonan from
Composed by Rachel
Canterbury Opera enjoying jam
Clement, JAM is an
sandwiches.
imaginative opera for
young voices with
libretto by Margaret Mahy, based on her popular children’s
book. Canterbury Opera Chief Executive Officer, Elizabeth
Owens, explains why the Mahy story was chosen: “It
contained all the classic opera ingredients: the triumph
of good over evil, many interesting characters with strong
personalities, great chorus opportunities, and the sparkle
and magic to entertain and delight adults and children.
emergence from an unexpected context; dramatic moments in
his youth; his development as a fiercely unique individual; his
many conflicts with the status quo; the struggle to create a new
kind of art; and his unorthodox emotional life.
David Farquhar – Enchanted Island
Enchanted Island is inspired by The Tempest, Shakespeare’s most
musical play. As Caliban says, “... the isle is full of noises,
sounds and sweet airs ...”. Its musical demands include many
songs and magical effects, including storms and a celestial
masque. Strangely, while many composers have written
incidental music for the play, there have been few operatic
adaptations. Yet the fable contains all the operatic ingredients
of romance, intrigue and comedy, with lots of magic thrown in.
Aaron Lloydd – The Black Mill
The Black Mill is believed to be the first opera to feature a
brass band rather than a traditional orchestra. The opera
tells the story of a mill that might be connected with the
devil, where the workers are forced to grind the bones of
the dead. It is derived from the novel Krabat by Otfried
Preussler and received its first performances in Fringe New
Zealand 2002.
Gareth Farr / Paul Horan – Three Moments of
Ecstasy
Michael Williams/ Alan Riach – The
Prodigal Child
In the 30s a famous aviatrix lands on a Pacific island: her last
stop before circumnavigating the world. At the moment of
achieving the ultimate, she wonders what ecstasy can equal
this? With the last inhabitants of the island, she argues about what
leads us to happiness. Three stories are told: a missionary reaches
ecstatic union with God
after losing his mind and
dreaming he is St. Antony;
a colonial official loses
everything in the arms of
a man, and his wife finds
redemption in the forest;
and a girl on a bridge
ponders the abyss. The
This chamber opera for soprano, mezzo soprano, baritone,
string quartet and piano is set in New Zealand in the early
1900s and concerns a couple’s encounter with a troubled young
woman who is lamenting the loss of her child.
John Rimmer / Witi Ihimaera – Galileo
Galileo, a chamber opera, utilises music, words and
theatrical effects including computer graphics and
video to tell the story of the Renaissance scientist,
mathematician and astronomer who is credited as
being the man with whom modern history began.
The University of Auckland presented this work with
assistance from Creative New Zealand early in April.
2.
NZ Composer scores opportunity in Australia
Chris Watson has been invited to take part in the Australian Composers Orchestral Forum (ACOF) to be held in Perth later this year.
It is the first time such an opportunity has been offered to a New Zealander. His participation involves writing a ten-minute work for
orchestra which will be workshopped by the West Australian Symphony Orchestra. Four emerging Australian composers will also take
part in the project which culminates in a week-long forum including a public performance to be recorded for broadcast by the ABC.
In its 23rd year, the Australian Composers Orchestral Forum (ACOF) is a joint project of Symphony Australia and the Australian Music
Centre and is funded by the Australia Council. Its aim is to provide a valuable opportunity for emerging composers not only to have
their work performed in public by a professional symphony orchestra but to receive assistance during the composition process from the
orchestra, other composers and a specially chosen mentor. Chris will work with one of Australia’s leading composers, Gerard Brophy. This
year ACOF is hosted by the West Australia Symphony Orchestra conducted by Kevin Field. The workshop takes place in the middle of
October.
John Davies, General Manager of the Australian Music Centre commented, “The
Centre's work in an international context is of growing significance and this
partnership between the Centre and SOUNZ, our sister organisation in New Zealand,
is an exciting opportunity for strengthening our ties across the Tasman.” Further
developing these ties, the Auckland Philharmonia has offered to host an Australian
composer at its November workshops.
The Australian Music Centre, which coordinates the project, invited SOUNZ to
select a New Zealand composer to take part in the forum. Chris was chosen after
consultation with the Composers’ Association, the Composers’ Advisory Panel at
Chris Watson
SOUNZ and the Auckland Philharmonia. Scilla Askew, Executive Director of SOUNZ,
says “The forum is an exciting opportunity for one of our young composers not only to gain exposure at an international level, but also
benefit professionally from the sharing of ideas and techniques with peers and more experienced composers from another country.”
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PACE –
Pathways to Arts and
Cultural Employment
A new initiative launched by Employment and Social Services Ministers
Steve Maharey and Judith Tizard will help emerging artists to develop
professionally and reach independence in their careers and can, under
some circumstances, provide support for those preparing major new
works. PACE – Pathways to Arts and Cultural Employment – is the first
step to better incomes for artists. It is a new Job Seekers Agreement
between artists and cultural workers and Work and Income New
Zealand. Creative NZ and several regional arts organisations have
inspired the change with their existing schemes around the country.
The Centre is interested in hearing about experiences of composers with
this scheme and can also provide information and contacts for anyone
eligible for a benefit who is interested in applying.
Email: [email protected]
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Christchurch Symphony Programmes NZ Music
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In the last SOUNZ News we reported on the works by NZ composers
in the seasons of the main performing organisations. At that time
information from Christchurch Symphony was not available. We are
pleased to report that they have programmed the following works:
Te Perenga by Gareth Farr with clarinettist Gretchen Dunsmore (16
February), Maui Tikitiki a Taranga by Maria Grenfell with Alexa Still
as flute soloist (6 July); Hamlet Suite by Sir William Southgate (31
August); and the world premiere of Overture by Dorothy Buchanan (21
September).
4.
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NZSO/SOUNZ Readings for Orchestra
On March 21 and 22, SOUNZ, in association with the NZSO, again
presented rehearsed readings of orchestral works by NZ composers.
Report by Peter Mechen
As a change from the amplitude of the Michael Fowler Centre auditorium, these latest NZSO/SOUNZ Rehearsed Readings were held in
the relatively intimate spaces of the Brierley Theatre at Wellington Boys’ College, a venue which served aspects of the exercise well. An
advantage was the immediacy of the music-making, and the sense for the listeners present of tangibly sharing with the players the same
space in which the music was being made (though at least one of the composers was disconcerted by the uniformly up-front sound picture
and the effect upon his scoring!). And although no such forum took place on this occasion, the venue’s modest scale might have more
readily encouraged a true “workshop” scenario between musicians, composers and interested parties, something which could well be
instigated at subsequent sessions. Perhaps the major drawback was the venue’s relative out-of-the-way location, making public access to the
event more difficult than when held at the MFC – though one supposes that “a will would find a way” on the part of anybody wanting to
get to the sessions.
Four works were presented, Philip Brownlee’s Landforms, Nigel Keay’s Serenade
for Strings (the first two movements), Christopher Marshall’s The Song of Gaia,
and Michael Norris’ From the lonely margins of the sea. As with previous NZSO/
SOUNZ sessions, part of the fascination of encountering these pieces during
the readings was the juxtaposition of markedly different and individual soundworlds. Perhaps the subtlest, and least outwardly demonstrative of the pieces was
Philip Brownlee’s Landforms, a 1998 work for large ensemble, inspired by sounds
and images characterising the New Zealand coastal landscape, whose timbres and
textures were organised as constantly-shifting sonic conglomerations interacting
with individual instrumental lines. Nigel Keay’s lyrical, but sombrely-coloured
Serenade for Strings was represented by movements 1 and 2, whose sobriety had a
rather “Central European” sonority, the melodic patterns gradually accumulating
Conductor Hamish McKeich (right) relaxes with composers detail and darkening in overall effect as the music proceeded. Christopher
Michael Norris (centre) and Philip Brownlee
Marshall’s The Song of Gaia characterised the idea of the earth’s richness and
diversity, the composer constructing at the outset far-flung sonic vistas upon
which more immediate and volatile melodic and rhythmic elements gradually and tellingly impacted. Lastly, we heard Michael Norris’
From the lonely margins of the sea, written during 2001 for the Southern Sinfonia of
Dunedin, a work which evoked and sustained an impressively desolate mood by
way of paying eloquent homage to such (in the composer’s words) “exemplars of
melancholy” as Sibelius’s Swan of Tuonela.
Hamish McKeich led the orchestra surely and steadily through these scores, the
players’ skills and commitment enabling the music to quickly coalesce, so that the
final presentation of performances at the end of each day (recorded by Concert FM)
represented a growing and flowering of thought, word and deed. SOUNZ director
Scilla Askew in her speech of thanks to the players and conductor made reference to
the fruit borne by these sessions, the chance afforded composers to hear played what
in many cases had existed only on the pages of a score, and have a sound-document
of their music. Reference to previous sessions indicates that the strategy is beginning
Christopher Marshall discusses his score with NZSO
to work, with a number of pieces presented subsequently receiving both public
harpist Caroline Mills.
performances and recordings.
WEBSITES WORTH A VISIT
www.southwest.org.nz
A website supporting Concert FM’s
series Douglas – browse through
transcripts, put faces to voices
including a comprehensive timeline
of Lilburn’s compositions.
www.artslaw.com.au
A website offering legal advice
(primarily to Australians, but
also New Zealanders) about
artistic issues.
5.
www.thebigidea.co.nz
A creative work, income and
enterprise-generating tool
for NZ artists which works
by sharing information skills
and services on-line. Arts and
cultural practitioners are invited
to subscribe.
Flying Kiwis
Reviews from New Zealand New Music (Scotland, 2001)
conducted by Kenneth Young confirmed Cresswell as a master
orchestral craftsman in his Concerto for Orchestra and String
Quartet. Cresswell's music is a little zany, and it is clear from
the other music in this concert that New Zealanders never took
European avant-gardeism too seriously ... A dissenting voice
belongs to New Zealand composer Jack Body. His dissatisfaction
with the rhetoric of the new music mainstream was clear in his
Pulse. The piece opened with a snippet of Beethoven’s Eroica, then
rotated through a montage of excerpts encased in brilliantly heard
textures and arguments. His must be the voice of New Zealand,
and of our time.”
Now that the festival, New Zealand New Music in Edinburgh has
passed it seems worthwhile reporting on the critical success which
it attracted. While not every review was unreservedly positive, an
overwhelming majority were and we are pleased to report some of
them in SOUNZ News.
NZ String Quartet at Glasgow University
"If the standard of performances in the coming week's celebration
of the music of New Zealand matches that established yesterday
by the excellent NZ String Quartet in the launch concert of the
Festival, then audiences are in for a rare treat.. ... A tour de force of
performance: can't say better than that. Lyell Cresswell’s largescale piano quartet And Every Sparkle Shivering, in which the group
was joined by virtuoso pianist Richard Beauchamp ... this stunning
piece unifies its mosaic structure with two strong elements: a
ravishing, murmuring love song, and wildly rhythmic dance
music. [Abhisheka by John Psathas] turned a florid exotic melody
inside out across the group to examine its expressive potential.
Superior music from a superb outfit.”
(Martin Parker, The Scotsman, 3 December 2001)
"Atmosphere, on last night's evidence, really matters to New
Zealand's composers. Jack Body’s ... Pulse set the scene ... a
great concrete mixer of a work ... based on the principle that too
much is not enough. In contrast, Ross Harris’ Music for Jonny
... was sensitively written and again vividly performed. Helen
Bowater’s River of Ocean ... was a seascape stretching from NZ to
Scotland, its ballast of low string tone shot through with glinting
woodwind. Eve de Castro Robinson’s Other Echoes ... was a
fanfare inspired by NZ birdsong with lovely, almost Brittenish
roles for cor anglais, violin and other instruments. This lead to
Lyell Cresswell’s Concerto for Orchestra and String Quartet .. .
featuring the excellent NZ String Quartet as soloists ... packing
its ideas into a tight-knit structure – intricate, invigorating, a
genuine tour de force.
(Michael Tumelty, The Herald, 30 November 2001)
Dan Poynton, Reid Concert Hall, Edinburgh
When size really doesn’t matter
“...as the relaxed anecdotal Poynton himself pointed out, this was
intentionally the lighter side of NZ music ... The composers ranged
across several generations from the father of NZ music, Douglas
Lilburn ... to Jack Body, Gillian Whitehead and Ross Harris,
and the younger generation of John Psathas and Poynton himself.
The music was remarkably coherent in style ... lots of play of light
and shade, a predominance of colour sensitivity, reams of gentle
sonority ... It occurred to me that the notion of a short recital
comprised almost exclusively of the “other face” – the lighter side
– of composers is a concept that might interestingly be considered
by Scotland’s own composers.”
(Conrad Wilson, The Herald, 1 December 2001)
(Michael Tumelty, The Herald. 5 December 2001)
BBC Scottish Symphony Orchestra with NZ String Quartet conducted
by Kenneth Young
Concert so good you'll believe a kiwi can fly
“There's more to New Zealand than wine and rugby as the
audience for this superb concert discovered. ECAT's New Zealand
New Music series is delivering unmissable events for those who
relish adventurous and dynamic contemporary music. What was
interesting to hear was how the composers living in NZ were not
so much experimenting with the avante garde, but rather finding
new ways to express themselves with traditional and conventional
structures. ... Eve de Castro Robinson evoked the songs of extinct
and endangered NZ birds in an exquisitely beautiful fanfare,
Other Echoes. Helen Bowater also looked to the natural landscape
for her dramatic and robust evocation of water in River of Ocean
... [There was] sheer breadth and scale of ideas that erupted
throughout Lyell Cresswell's Concerto for Orchestra and String
Quartet. Cresswell has developed a powerful and distinctive voice
that owes little to other composers or influences. At the heart of
this musical maelstrom is the phenomenal NZ String Quartet who
drive this work through a range of powerful and deep emotions.”
(Susan Nickalls, Evening News, 3 December 2001)
"...on Friday night the BBC SSO, with the NZ String Quartet and
6.
Voluntary Quota on Radio
At the end of March agreement was reached on a voluntary code
for NZ music content for commercial radio. A Music Reference
Group, including the Radio Broadcaster’s Association, APRA and
the government, have agreed that by 2006, 20% of music on
commercial radio will be from NZ. This approximately doubles
the current levels. Mike Chunn noted that APRA pays about
$1.8m a year in royalties to NZ musicians, much of it from radio
play and that this agreement will see a substantial rise in income
for our music industry.
However, the plan has had strong reactions from the other
parties in government. Green Party Youth Affairs spokesperson
Nandor Tanczos said, “Voluntary quotas for New Zealand music
on commercial radio will only work if the public is told which
stations are meeting their targets. Non-commercial stations like
student radio and National Radio are way ahead of the game
in their commitment to Kiwi music, and they deserve massive
props for that.” The National Party Broadcasting spokesperson
Katherine Rich said, “Marian Hobbs’ veiled threats to broadcasters,
and the consequential imposition of local content quotas could
threaten New Zealand’s trade... It’s my view that more music will
be played as great material is produced and the work of NZ on
Air continues.” ACT spokesperson MP Penny Webster reacted,
“The Government is force-feeding New Zealanders local music
regardless of the quality. The only likes and dislikes allowed
in New Zealand are those of Ms Hobbs and her friends in the
Beehive.”
As Tanczos commented, NZ public radio is already fulfilling a
local content quota, but Kate Mead of Concert FM says that the
amount of NZ music and the number of NZ musicians featured on
Concert FM rises steadily. “We’ve increased our local content over
the last few years, and we won’t rest until we’re scheduling 25%
local artists. We rely on NZ record companies like Trust, Atoll and
Rattle to provide this material as well as our own recordings of
live events. Excellent commercial recordings of NZ
musicians are appearing on the market. Long may that continue
because we’re a NZ music-greedy network!”. She commented,
“RNZ’s charter and funding agreement with the government
means that our commitment to NZ music is scrutinized. That’s the
way we'd like to keep it.”
May is NZ Music Month
New Zealand Music Month will herald special
events all over the country bringing attention
to NZ music. Concert FM is planning a week
(13–19 May) with many NZ music programmes
including a focus on a number of composers’
favourite own compositions. Highlights will
be the BBC Scottish Symphony Orchestra
concert from Edinburgh with the NZ String Quartet conducted by
Kenneth Young (13 May); concerts by 175 East (14 and 16 May);
the NZSO Chamber Orchestra playing Lilburn and William’s
Dart’s New Music Survey (15 May); Bernie McGann (17 May); and
the Adam Chamber Music Festival concert From the Homeland (18
May).
7.
concise
Project funding announced by Creative NZ in November 2001,
included a number of composers and groups: Brigid Bisley to
compose a 15-minute chamber ensemble work; Greg Johnson to
write new songs for a future album; Anthony Ritchie to compose
24 preludes for solo piano; 175 East for new works by Rachel
Clement and Michael Norris; Auckland Chamber Orchestra for
a 20-minute work by Lissa Meridan; Edinburgh Contemporary
Arts Trust for a work for Scottish Voices (Sleep O Beloved) by Ross
Harris; Ensemble Three for a trio for horn, cello and piano by
John Wells; UK-based ensemble, Lontano, to produce a CD of
works by four NZ women composers (Jenny McLeod, Gillian
Whitehead, Dorothy Ker and Annea Lockwood) and the NZ
Flute Society for a work for flute and tape by Chris Cree-Brown.
Two record companies were also awarded grants: Atoll CDs
towards a CD of music by Helen Fisher and to produce a CD of
Christopher Blake’s orchestral works performed by the NZSO;
and Kiwi Pacific
to release a CD
of orchestral
works by Edwin
Carr.
Quotable Quote from Chris Knox on the Silver Scroll Awards
2001: “Someone else announces Gillian Whitehead as the
SOUNZ Contemporary winner and we cheer (me, I cheer and
stamp cos the ‘classic’ stuff sounded far raunchier and evil than
most of the ‘rocknpopnrap’ stuff...”)
Igelese Ete, who assembled and directed a New Zealand choir
for the Lord of the Rings soundtrack, has been appointed first
Creative Fellow in Pacific Music at Auckland University. As well
as lecturing students in the university’s new Performing Arts
degree, he will help co-ordinate the degree’s major in Pacific
Island performing arts, the first undergraduate programme of its
kind in New Zealand.
Photo by Stuart Robson
From Scratch, lead by Artist Laureate Philip Dadson, was
one of three companies who represented New Zealand at the
5th International Australian Performing Arts Market held in
Adelaide earlier this year. The performers’ showcase was funded
by Creative New Zealand who hosted a booth and produced a
publication, Going Global, promoting 28 New Zealand performing
arts companies. According to the Melbourne Festival’s artistic
director, Robyn Archer, international producers, festival
directors and venue managers “went wild” over the New Zealand
companies’ spotlight performances. Cath Robinson, Creative
New Zealand’s Arts Development Manager, agreed, “There was
a fantastic buzz. One international buyer said a strong passion
threaded through the New Zealand work and this was reflected in
all the activity at the booth.”
Amongst
the many
composers
whose works
were heard at
Lissa Meridan and Craig Sengelow
the NZ Festival
2002, Craig
Sengelow was overlooked (by us). He composed the music for
Victor Rodger’s play Ranterstantrum, which was premiered and
commissioned by the Festival.
Dorothy Ker has been awarded a
highly prestigious 3-year Creative Arts
Fellowship funded by the Arts and
Humanities Research Board and hosted
by the University of Reading where she
has taught composition since 1996.
The fellowship allows her to compose
full-time until 2004. It follows a 20002001 Year of the Artist award from the
Arts Council of England to create Music
for Quiet Spaces which featured violinist
Dorothy Ker
Mieko Kanno.
A major new ten-part Radio New Zealand series, Douglas, a
celebration of the life of Douglas Lilburn, begins on Monday
3 June at 8pm on Concert FM. Interviews with twenty-five of
Lilburn’s close family, friends and colleagues will be interwoven
with existing archival footage – some of which hasn’t been heard
for more than fifty years – in an attempt to gain a more personal
understanding of New Zealand music’s elder statesman. The
series has been produced by Roger Smith and Gareth Watkins.
Award-winning young composer Victoria Simonsen can now
add the New Zealand Young Musician of the Year to her growing
list of achievements. Her performance of Elgar’s Cello Concerto
earned her the $10,000 first prize at the final early in April.
Following the NZ tour of their show Shape of the Land,
Wellington-based experimental group, Cloudboy, are undertaking
a tour of Europe in September presenting short films from the
New Zealand Film Archive with live music.
Classical Finalists in the NZ Music Awards have been anounced.
They are Trust Records for Gareth Farr’s Warriors from Pluto and
Landscapes, seven works by NZ composers played by the NZSO
and Rattle’s double CD of Jack Body’s musi, Pulse.
John Young was awarded second prize for his work Liquid Sky
(1998) in the International Electroacoustic Music Contest of São
Paulo 2001.
8.
Class Act Opera, with assistance from a Creative NZ grant, will
tour Tale of the Birdcatcher, an opera written for young people by
Peter Scholes, to South Island schools during 2002.
As part the NZSO Education 2002 Programme, Dorothy
Buchanan led a workshop on composing music for small
ensembles. Students involved will have the opportunity to
compose a piece and have it performed in August. Members
of the orchestra also performed her Peace Fanfare and Waipoua
by Gareth Farr. Two works by Eve de Castro Robinson are
included in the 2002 Programme: Noah’s Ark and Other Echoes.
Reproduced with the permission of Monkey Biz
Following the NZ Festival 2002 premiere of the stage adaptation,
The Underwatermelon Man will be animated for television in
a half-hour production to
screen on TV3 later this year.
Production company, Monkey
Biz has been given funding
from NZ On Air and the NZ
Film Commission to produce
the television adaptation of this
popular children’s book and
CD of eccentric characters and
unreasonable rhymes written
by Fane Flaws, Peter Dasent
and Arthur Baysting.
Gamelan Padhang Moncar from Victoria University is planning
a tour to Indonesia at the end of June. They will travel to the
international Gamelan Festival in Yogyakarta, Java, where they
will present a programme of new compositions by various of the
composers in the ensemble including Leon de Lorenzo, Judith
Exley, and Jack Body.
Waiteata Music Press received this year’s KBB/CANZ Citation
for Services to New Zealand Music when 2002 CANZ Awards
were presented at a reception hosted by SOUNZ and the NZ
Festival 2002 after the Velocities concert on 12 March. Waiteata
Press whose current editor is Jack Body, has 170 publications
by around 60 composers
to its credit and has
produced four CDs.
Penelope Axtens won the
CANZ Trust Fund Award,
which is given annually to
a composer of outstanding
potential or achievement.
Gillian Whitehead presents the CANZ
Trust Fund Award to Penelope Axtens
McLean’s College student Claire Cowan won first prize in the
Auckland Philharmonia 2001 Young Composer Competition with
her piece Drums of Mars. She was one of six secondary school
finalists selected by the orchestra to participate in the final at the
end of last year and her work will be performed at the Auckland
Philharmonia’s three Discovery concerts in May.
A recital of works by New Zealand composers will be given by
the NZ Arts Club in London on 23rd April to mark Anzac Day.
Helen Fisher’s Maitairangi, Lyell Cresswell’s Atta for cello, John
Rimmer’s For the Kokako and Centrifugues, David Farquhar’s
Remembrance of Things Past and Anna’s Song by Ross Harris will
be performed by a group of NZ performers including cellist
Miranda Wilson, soprano Anna Pierard and pianists Anna Bull
and Margaret Lion.
Chamber music is clearly a “happening thing” among secondary
schools in this country with Chamber Music New Zealand’s 2002
School Music Contest attracting entries from 1,750 students
comprising 470 groups nationwide. The cornerstone chamber
music works are also being challenged by the likes of jazz and
works by New Zealand composers, notably, Gareth Farr.
Sixteen entries have been received for the Original Composition
Section which will be adjudicated by Gillian Whitehead.
Chaconne by Christopher Marshall has been recorded by the
Tasmanian Symphony Orchestra for inclusion on an ABC Classics
CD of new music derived from dance.
The Auckland Philharmonia will commission seven NZ
composers to write short orchestral preludes in a series of Kiwi
Snapshots. These will be played in the orchestra's 2003 concert
season. An eighth work will be that of a competition winner. See
‘Competitions’ on Page 15 for details.
In November last year, in commemoration of Douglas Lilburn,
on Sydney’s fine music access radio, 2MBS-FM, Max Keogh
presented a 90-minute programme of Lilburn’s chamber music.
Six young composers aged between 8 and 18 had their works
performed by the Nederlands Blazers Ensemble in the New
Zealand Festival 2002. Winners of the Tower Composers
Competition were: My Poem by Christine Han, Diversions by Emily
Loo, Shubadu by Claire Cowan, Suite by Salina Fisher, Yesterday’s
Battle by Alex Selman and The Chamber by Brad Gallen. Penelope
Axtens assisted them with orchestration.
Along with Dorothy Ker and Chris Watson, whose works The
Structure of Memory and Dérailleurs are being performed, John
Elmsly, Jack Body and Philip Brownlee will be attending the
Asian Composers’ League Festival and Conference in Seoul, Korea
in May.
9.
10.
NEW
2001
26 October David Griffiths Psalm 212 ‘I will lift up mine eyes’ for SSAA choir
and solo flute; Senior Chamber Choir; Samuel Marsden Collegiate School,
Wellington
3 November 2001 David Griffiths Annunciation for a cappella SATB choir;
Musica Sarca; Cathedral of St Paul, Auckland
2002
12 January Martin Lodge Summer Music for piano trio; Ogen Trio; Civic
Theatre, opening concert of the Millennium Chamber Festival 2002, Rotorua
PHILIP NEILL
MEMORIAL PRIZE
IN MUSIC
27 January John Rimmer Leafspin; Auckland Philharmonia Summer School
cond. Graham Abbott; St. Cuthbert’s College Auckland
The Prize is awarded annually
for excellence in Original Composition
and in 2002 is valued at $1500.
The competition is open to all past and present students
of the universities of New Zealand.
6 March Janet Holborow C.O.R.E for cello and electroacoustic soundscape;
Janet Holborow (cello); Garden of Eden at Bats Theatre, NZ Fringe 2002
6 March James Gardner Mutant Cabaret; Janet Holborow (cello)
Kate Lineham (voice), Rachel McLarin (saxophones), Anton Wuts (bass
clarinet/ tenor saxophone); Garden of Eden at Bats Theatre, NZ Fringe 2002
The topic for 2002 is a composition for
Trio of clarinet, violin and piano.
The work must not be less than 8 minutes
and not more than 20 minutes in duration.
22 March Lyell Cresswell The Voice Inside for violin, soprano and orchestra;
BBC Scottish Symphony Orchestra, Julie Moffat (soprano), Elizabeth Layton
(violin) cond. Ivan Volkov; BBC Invitation Concert, Glasgow, Scotland
The prize regulations may be obtained from
The Manager, Student Administration,
University of Otago,
P.O. Box 56,
Dunedin.
10 April John Rimmer Galileo an opera; Witi Ihimaera (libretto), John Davies
(director), ensemble and soloists from University of Auckland including David
Griffiths, cond.Uwe Grodd; Maidment Theatre, Auckland.
24 April Michelle Scullion The Great Back Garden a dance work for school
children; Wellington primary schools, Jenny Cossey (choreographer); Civic
Square, Wellington
Applications close on 1 July 2002.
1 May Patrick Shepherd Cello Concerto Edith Salzman (cello), Christchurch
Youth Orchestra cond. Joanna Drimatis; Aurora Centre, Christchurch
7 May John Drummond A Beleaguered City, a chamber opera; Jeremy
Commons (libretto), Jacqueline Coats (director), Michael Vinten (Musical
Director); Adam Concert Room, Victoria University, Wellington
7 May Ivan Bootham The Death of Venus, a chamber opera; Ivan Bootham
and Jeremy Commons (libretto), Ivan Bootham (Musical Director), Jacqueline
Coats (director); Adam Concert Room, Victoria University, Wellington
19 May James Gardner More than one attempt; 175 East, Lynda Cochrane
(piano); Hopetoun Alpha, Auckland
19 May Neville Hall and the snow’s lace is spread there like sea foam; 175 East;
Hopetoun Alpha, Auckland
23 May Christopher Blake The Furnace at Pihanga; Auckland Philharmonia
cond. Vladimir Verbitsky; Auckland Town Hall
13 June John Rimmer Europa: Concerto for Brass Band Auckland
Philharmonia, Dalewool Auckland brass cond. Miguel Harth-Bedoya;
Auckland Town Hall
15 June Michael Norris Symphony No. 1: the mountains ponder a silence as
profound as stars; Southern Sinfonia cond. Marc Taddei; Dunedin Town Hall
16 August Rachel Clement Jam, an opera for young voices; Margaret Mahy
(libretto); Canterbury Opera; Repertory Theatre, Christchurch
11 August Ross Harris Chaconne for solo viola; Gillian Ansell and Richard
Mapp; Ilott Theatre, Wellington
18 August Kenneth Young Top Notch; Wellington Sinfonia; Regent on
Broadway, Palmerston North
29 August Martin Lodge Aer; Auckland Philharmonia cond.Werner Andreas
Albert; Auckland Town Hall
1 September Anthony Ritchie Blue Sonata Opus 90; Euan Murdoch (cello),
Terence Dennis (piano); Waikanae Memorial Hall
4 September David Griffiths Bold Sir Brian Botany for SSA and piano; Senior
Chamber Choir; Monster Listen In, Samuel Marsden Collegiate School,
Wellington
11.
Honorary Doctorates for two leading New Zealand composers
In May, Lyell Cresswell will be awarded an Honorary Doctorate
from Victoria University where he originally gained his Bachelor
of Music with First Class Honours in composition in 1968.
However his early musical training actually came from his family’s
strong involvement in the Salvation Army. His father and uncles
all played in bands, as did the young Cresswell for a short time.
And he was introduced to the world of composition by his
uncle, Ray Cresswell who wrote Salvation Army music. Cresswell
acknowledges that it is thanks to the Salvation Army that he was
instilled with an early love of music.
On a brilliant autumn morning at the University of Waikato,
artists, academics and whanau gathered to pay tribute to Hirini
Melbourne. An estimated 600 attended at the whakatau, and
Toi Maori elder Tepene Mamaku was the first speaker of the
manuhiri. Toi Maori committee members, particularly Puatatangi,
were there in good numbers.
The venue was Te Whare Tapere – Academy of the Performing
Arts, a new venue dedicated to encouraging and training in
the arts. In February this year Hirini was Project Manager
of Puatatangi’s new event ‘PAO PAO PAO’ a celebration of
contemporary Maori and Pacific Island music and dance. We saw
a video of ‘PAO PAO PAO’ including an interview with Hirini on
the night of ‘PAO PAO PAO’ – what a party that looked on the
screen.
Professor Peter Walls of Victoria University’s School of Music
says, “It was already clear when he was a student that Lyell was
a composer of immense wit, intelligence and creativity.” He says,
those who knew him then have “watched with pride” as his
international reputation has developed.
Saturday 22 March was the conferment of an Honorary Doctorate
on our good mate and excellent opportunity to celebrate his
contributions to the music and the arts. The eloquent and often
humorous repartee from the colleagues, friends and whanau
entertained and enthralled an adoring audience who couldn’t
contain themselves when Te Whare Wananga O Waikato launched
into Purea Nei. Chocky Keefe and his daughters with
E Rere Te Manu had a chorus line of hundreds and it took Hirini
performing with Richard Nunns and Hinewehi Mohi to top the
sparkling showcase of talent.
Despite living for nearly thirty years in Scotland, Lyell Cresswell
has never forgotten his New Zealand roots. He has organised two
highly successful festivals of New Zealand music in Edinburgh,
which are an obvious manifestation of this commmitment and an
example of how he is more than willing to provide a helping hand
to other New Zealand composers.
Professor Stuart McCutcheon, Victoria Unversity Vice-Chancellor,
says, “The University is delighted to have the opportunity to
acknowledge the exemplary musical achievements of Lyell
Cresswell. Above and beyond his musical excellence, he has
promoted New Zealand musicians on the world stage and also
given ongoing service to Victoria.”
During the ceremony the Victoria University Orchestra will
play his work Pianto for horn and strings and also the rarely
heard Processional Fanfare by Douglas Lilburn, his last piece of
conventional writing for orchestra.
Hirini was resplendent in a wonderful kakahu by Diggeress Te
Kanawa and sat with his wife Jan, Te Aatairangi Kaahu, Dr Tamati
Reedy and other dignitaries on the stage of the Concert Chamber.
MC Tom Roa was a joy to watch as he ensured the event rolled
along with heaps of good cheer with respectful observance of the
conformities of the Academic conferment and blissful ribbing
of his good friend Hirini. All the fine words were spoken and
wonderful food enjoyed when the impromptu performances were
started and added to the already sumptuous feast of sights and
sounds. Heaps of talent that didn’t get on stage were taking their
spot to pay tribute to Hirini.
presents
the premiere performance of
Symphony No. 1:
the mountains ponder a silence as profound
as stars
By Michael Norris
(Southern Sinfonia’s
2001 Composer in Residence)
I know this was the flashest conferment of a doctorate anywhere
in the country and for its Maori content anywhere in the world. If
Maori academics needed any incentive to seek such giddy heights
of academic achievement, the party we had last Saturday would be
worth it! Congratulations Hirini and lots of love from your fellow
artists throughout the country and overseas.
SATURDAY 15 JUNE
8 pm, Dunedin Town Hall
Conducted by Marc Taddei
(This report by Garry Nicholas’ and photo from He Panui No. 21 March 2002, the
12.
newsletter of Toi Maori Aotearoa, are printed with their kind permission.)
Christchurch composersʼ music
in Russia, Germany and USA
John Psathas makes it to the
Commonwealth Games
Guitarist Matthew Marshall and flautist Carol Hohauser will be
performing New Zealand music in Berlin, Russia and New York in
May 2002. They will give the world premiere of Concerto for Flute
and Guitar Whakapapa by Patrick Shepherd (written especially
for this occasion) with the Berlin Chamber Orchestra conducted
by Roland Mell at the Berlin Schauspielhaus on 12 May.
John Psathas’ Double Concerto for piano, percussion and orchestra
will be premiered during the XVIIth Commonwealth Games in
Manchester on 26 July. The work will be
performed during the Royal Gala finale concert of the
Commonwealth Games music festival – Pulse – at Bridgewater
Hall by world-renowned percussionist Evelyn Glennie, pianist
Philip Smith and the Hallé Orchestra conducted by Mark Elder.
Following this they will be performing with the Kuzbass
Philharmonic Orchestra in Kemerovo, Russia (Western Siberia)
on 18 May. The programme will include Flute Concerto by Patrick
Shepherd (written for Carol Hohauser) and Inception to Infinity
for Guitar and Orchestra by Philip Norman (written for Matthew
Marshall and commissioned by Massey University). Patrick
Shepherd will be travelling to Berlin and Russia to hear his works
and will be giving seminars about NZ
music while he is there.
“It is a great honour both for John Psathas and for New Zealand
that this work should be selected for performance at such a
prestigious event, and this performance will add to the rapidly
growing profile of the composer on the international stage,”
Psathas’ manager and publisher Ross Hendy said.
Scilla Askew, Executive Director of the Centre for New Zealand
Music said, “It is performances like these that provide firm
evidence that the work of New Zealand composers is gaining
international attention and success.”
Matthew and Carol will then be
giving flute and guitar recitals
in Moscow and New York. That
programme will feature a wide range
of composers and styles including
Satyr’s Dance for solo flute by Patrick
Shepherd and Tense Melodies for flute
and guitar by Philip Norman.
PSYZYGYSM, John’s concerto for vibraphone and chamber
orchestra which premiered at the New Zealand Festival 2002 will
have its European premiere in Portugal in June, when Portuguese
marimba player Pedro Carneiro, for whom it was commissioned,
will give the second performance.
In a further celebration of the Commonwealth Games, the BBC
Singers conducted by Bob Chilcott will broadcast a concert on
BBC Radio 3 in early June recorded in the Foreign Ofiice and
including pieces from Childhood by Jenny McLeod.
Patrick Shepherd
New Board Member and Staff
At the end of 2001 SOUNZ was very pleased to welcome Vicki
Allpress to the Centre’s Trust Board. Vicki is known in NZ for
her outstanding work as Marketing Manager of Chamber Music
NZ and the Royal NZ Ballet. She currently lives in London
where she has held marketing positions with English National
Ballet, Tickets.com, Global Music Network and at present,
classical.com. The Centre’s chair Gary Hawke said, “ Having a
trustee whose work is at the cutting edge of web marketing will
be extremely valuable to enhancing our services and connections
internationally.”
At the beginning of February we welcomed Margaret Ogilvie to
the staff in the part-time position of Marketing and Promotion
Coordinator. Margaret, originally from Christchurch, has
extensive experience in the music world. She graduated from
Canterbury University with degrees in Music (performance
piano) and English and has studied electronic composition at
Victoria University. She has been
a secondary Music and English
teacher, worked in music retailing
and continues to write scripts
and programmes for Concert
FM. Margaret has also performed
throughout NZ as a pianist for
the Film Archive playing her
own composed and improvised
accompaniments to silent film.
With such a wide variety of
experience she will be a great
asset to the Centre.
13.
CDs, scores and books listed can
NEW CDs, SCORES and BOOKS Most
be bought fromthe SOUNZ website
(www.sounz.org.nz) or directly from the Centre.
CDs
Chamber Music New Zealand School Music Contest 2001 National Final
Includes Edwin Carr Four Dances from Electra, Grant McGregor Trio
for Violin, Clarinet and Piano, John JS Chen Quintet in A minor, Timothy
Donnell Finger Dance; Chamber Music New Zealand.
Variations Various brass band works including Saxon by John Psathas;
Dalewood Auckland Brass cond. Nigel Weeks; Atoll ACD 601
Hymns for All Seasons Hymns by Jocelyn Marshall including music by
Christopher Marshall and Nigel Williams; St Peter’s Cathedral Choir
and the Boys Choir of Southwell School; St. Peter’s Cathedral Hamilton.
Improvisations 2000 Jeff Henderson (piano, alto saxophone and
tumutumu) and Agus Supriawan (suling, kacapi, khendang and voice);
Space CDs SPACECD 002
La limite du bruit Electroacoustic works by John Young including Liquid
Sky; Empreintes Digitales IMED 0261
New Zealand Sonic Art Vol.II Works by Lissa Meridan, John Rimmer,
Daniel Beban, Kit Powell, Craig Sengelow and Chris Cree Brown;
University of Waikato UWMD1201
Snapshots: The Viva Voce Album – A Cappella Choral Favourites Includes
works by David Hamilton and Anthony Ritchie; Viva Voce cond. John
Rosser; Atoll ACD 901
Springsound Music and dance teaching resource with music by Michelle
Scullion; Melectra Music
Books
Edwin Carr: A Life Set to Music:
The Autobiography of Edwin Carr;
Blanchard Press
Simon Tipping: Choir of the World:
The New Zealand National Youth
Choir 1979-1999; Dunmore Press
Ltd
Peter Harcourt: Fantasy and folly:
The Lost World of New Zealand
Musicals 1880-1940; Steele
Roberts
Lena Days (Ed.): New Zealand
Music Services Directory: Edition 10; Stellar Night Productions
Lyell Cresswell: Tracing the Lightning Flashes – Massey
University Composer Address 2000, Massey University Music
Michelle Scullion: The Art of Improvisation Vol I. Education
resource comprising CD and 3 booklets co-written by Paul
Sinclair.; Melectra Music
Jeni Little: John Psathas – A Learning Guide to Drum Dances
and Abhisheka; Education resource; Chimaera
Jeni Little: Gareth Farr – A Learning Guide to Kembang Suling
and Volume Pig; Education resource; Chimaera
Jeni Little: Baxter – A Learning Guide to the CD; Education
resource; Chimaera
Foreign Bodies Music for dance by Michelle Scullion; Paul Jendan
(lyrics), Jackie Clarke and Janet Roddick (vocals); Melectra Music
Storm Settings of Shakespeare by Daniel Adams for rock band, Verona
and string quartet; Verona, Chamberpot, Peter Sledmere (narrator); Verona
Viola Aotearoa: New Zealand
Compositions for Viola Works by Leonie
Holmes, Douglas Lilburn, Martin
Lodge, Martin Riseley, Anthony
Ritchie and Anthony Watson; Timothy
Deighton (viola) with Paul Whelan
(baritone), Martin Riseley (violin), Dan
C. Armstrong (percussion) and Penn’s
Woods Festival Orchestra cond. Grant
Cooper; Atoll ACD 102
Leigh Landy and Tony Myatt (Eds) Organised Sound: An
International Journal of Music Technology Volume 6 Number
1 Includes articles by William Dart, John Elmsly, Ian
Whalley, Michael Norris and John Young; Cambridge
University Press
Petrina Togi and Arthur Baysting (Eds) Pasifika: Pacific Island
Music Handbook; NZ Music Industry Commission
Michael Norris (Ed) Canzona 2000 The Yearbook of the
Composers Association of New Zealand Vol. 21 No.42; CANZ
Scores
Sandra Lynch: Christmas Crackers; arrangements of favourite
Waiteata Collection of New Zealand
Music Volume IV Composer Portrait: Ross Harris. Includes: Wild
Daisies, Variation, Duo, Three Rilke Songs, Sinfonietta, Dreams Yellow Lions;
Performers include NZ Chamber Orchestra cond. Kenneth Young,
Thomas Hecht (piano), Helene Pohl (violin), Rolf Gjelstein (cello) and
David Griffiths (baritone); Waiteata Music Press WTA 004.
Wee Happy & the Lounge Bears 16 original dance pieces for children by
Chris Prosser; Chris Prosser (violin), Susie Mechan (guitar); Kauri Music
Limited KMCD 005
You Got Your Wish Music by Jonathan Besser; Bravura, Jackie Clarke and
Don McGlashan (vocals); Atoll ACD 302
New Zealand Piano Works Works by David Farquhar and Edwin Carr;
Georgina Zellan-Smith (piano); Zellan Records ZRCD 1001
14.
Christmas melodies; Red Hill Publishing
Sandra Lynch: Thumbs on C; 20 Elementary Piano Solos; Red
Hill Publishing
Sandra Lynch: Six Advanced Piano Solo Sheets – Danse
Fantastique, Sunrise, Rush Hour, Le Pierrot, Something Jazzy,
Showin’ Off; Red Hill Publishing
Philip Norman: Witches-Clowns-Promises A cycle of five
songs for voice(s) and piano; Nota Bene
David Farquhar: String Quartet No.4 (1998) (score and parts);
Massey University Music
Philip Norman: Love Song for unaccompanied TTBB – from
A Garland of Songs (in memory of A.K.Grant); Nota Bene
David Hamilton: Mary’s Lullaby for SA and piano with solo
violin obbligato (optional); David Hamilton Choral Music
David Hamilton: Zoo Doings for TTBB (in barbershop chorus
style); David Hamilton Choral Music
A list of composer opportunities, which is regularly updated, appears on the SOUNZ
website. More details of most of the competitions listed are available from the Centre.
EAR 01 International Competition of Electroacoustic Music
Composing Composition for tape music or live-mixed-electronic music,
live performance Deadline: 26th October, 2002. For more info: write
to EAR’01 – HEAR Studio, Magyar Radio RT (Hungarian Radio), Brody
Sandor u. 5-7., H-1800 Budapest, Hungary or e-mail [email protected]
NZSO and Concert FM NZ Music Prize 2003 For work for orchestra 8–12
minutes by NZ composer. Registration deadline: 1st May 2002. Score
receipt: 1st August 2002. Prize: NZ$10,000 performance, broadcast and
commission. For full details email: [email protected]
The Second International Composers’ Competition – Budapest, 2002
Composition for string quartet. Duration 15-25 minutes. Eligibility: all
nationalities and ages. Deadline: 31st July 2002. For more info visit:
www.kodaly-inst.hu
Masterprize Composition for symphony orchestra. Eligibility:
Any nationality or age. Deadline: 30th November, 2002. For more
info: tel +44 207 591 4846, e-mail [email protected] or visit
www.masterprize.com
Philip Neill Memorial Prize – see details on Page 11
International Lepo Sumera Competition Contest for Young
Composers Composition for full orchestra not performed or awarded in
any other competition. Duration: 9–13 mins. Eligibility: all nationalities,
not older than 35 on closing date of competition. Deadline: 10th
December, 2002. For more info: e-mail [email protected] or visit
www.sumera.kul.ee
The Auckland Philharmonia Kiwi Snapshots Competition
Composition for orchestra inspired by some aspect of life in New Zealand
to be part of a series of like commissioned works from leading NZ
composers. Duration: less than 6 mins. Deadline: 1 August 2002 Prize:
Performance. Further details from: [email protected]
Calls for scores and recordings
Alberto Ginastera Foundation 5th International Composers’
Competition 2002 Composition for orchestra or soloist and orchestra.
Duration: 15–20 mins. Eligibility: 45 years or less on 31st December
2001. Deadline: 25 August, 2002. For more info: e-mail conginastera200
[email protected] or visit www.orfigc.com
New Zealand Sonic Art CD Vol. III
Works for found/experimental instruments (real, sampled or physical
models) and soundscape/digital control/sound processing. Works
with New Zealand sonic references preferred. Duration: preferably
under 8 mins. Eligibility: NZ citizens and permanent residents.
Deadline: 1st October, 2002. For more info: e-mail Ian Whalley at
[email protected] or visit http://www.waikato.ac.nz/music/nzsonicart/
nzsonicart3.shtml
Auckland Philharmonia Friends Young Composers’ Competition
2002 Entry is open to students enrolled at a New Zealand secondary
school in 2002, who will not have reached their 19th birthday by
December 31 2002. A work written for orchestra. Duration: 4 mins
maximum Deadline: 3 September 2002 Prize: $500 for winner and
performance of best 5 or 6 works. Full details: Young Composers’
Competition, Auckland Philharmonia, PO Box 56 024, Dominion Rd
Auckland.
Mediterranean Youth Orchestra An appeal to composers of any
nationality interested in a commission on the theme of the Mediterranean
Islands.Preliminary Deadline: August, 2002. Further information:
[email protected]
Toru Takemitsu Composition Award 2003 Composition for orchestra,
excluding concertos. Eligibility: Any nationality, 35 years or less at 31st
December 2002 Deadline: 30th September, 2002. For more info: e-mail
[email protected] or visit www.tokyooperacity-cf.or.jp
Auckland Philharmonia Composers’ Reading Workshop
Dates: 27–28 November 2002. Conductor Marc Taddei. Designed
to assist composers who have had little opportunity of having work
performed by a professional orchestra. For composers of any age,
currently resident in New Zealand Deadlines: 4pm, 2nd September
2002. Parts for selected works must be supplied by 14th October 2002.
Seoul Competition Composition: must not be published, commissioned
or awarded and must be written after 1st April, 2001. Eligibility: Any
nationality, any age. Deadline: 30th September, 2002. For more info: email [email protected] or visit www.musictoday21.com
Further details from: [email protected]
Donations
We are pleased to acknowledge grants towards specific projects from: the Arts Board of Creative New
Zealand and the Australian High Commission. We are delighted that Phonographic
Performances NZ has made a commitment to a continuing grant which will help to ensure the
Centre’s financial stability. Over the last six months donations have been received from a number of
individuals and organisations. We extend our thanks for this invaluable support.
David
Give and Gift ($200-$499): John Elmsly, Wellington Chamber Music Society, Japan Federation of Composers (via
John Elmsly)
Win–Win ($50-$199): Hon. Margaret Austin, New Zealand Association of Teachers of Singing, Institute of
Registered Music Teachers, Alison Isadora, Ian Fraser, Margaret Nielsen, Michael Houstoun, Peter Walls,
Hamilton, Anonymous (3)
Other Donations: Mary Barber, Geoffrey Hinds, Leading Notes, Ray Twomey, Jill Palmer, Anonymous (4)
If you would like to find out how to support the Centre's work and receive special benefits, then please
contact us.
15.
Letters and News
SOUNZ News welcomes letters to the
editor, news of premières of New Zealand
works, news about our composers and
events associated with New Zealand music.
Please keep in touch with us, so that
we can keep in touch with you.
Email: [email protected]
Fax: 64 4 801 8604
has photocopying
and spiral binding facilities
which are available
for your use
at extremely reasonable rates.
From 6c per copy
A4, B4 and A3
SOUNZ New Zealand
Toi Te Puoru
Centre for New Zealand Music
PO Box 10 042
Wellington
New Zealand
Street address: 39 Cambridge Terrace
Phone: (64 4) 801 8602
Fax:
(64 4) 801 8604
Email: [email protected]
Website: www.sounz.org.nz
Staff
Executive Director – Scilla Askew
Information Services – Pascale Parenteau
Marketing & Promotions – Margaret Ogilvie
Accounts – Chris O'Gorman
Trust members
Gary Hawke Chair
Vicki Allpress
Mike Chunn
Merryn Dunmill
David Farquhar
Te Puoho Katene
Kate Mead
Terence O'Neill-Joyce
Composers’ Advisory Panel
Martin Lodge Chair
Penelope Axtens
Rachel Clement
James Gardner
Fritha Jameson
Hirini Melbourne
The Centre for NZ Music acknowledges the on-going funding commitment of
Creative New Zealand and the Australasian Performing Right Association.
Library Membership
The Centre for New Zealand Music Library is available to anyone who wishes to make use of the growing resource that we
have here in Wellington. For an annual fee, library members are able to borrow (for up to two months) scores and
recordings of the scores and recordings that we hold. Special conditions do of course apply, as we must protect the copyright
interests of both the composers and the Centre. Our website contains listings of all the materials in the Library.
An Application Form for Membership is printed below, so that you can join the Library now.
We welcome your feedback and suggestions regarding the Library operations.
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New Zealand Music.
I/We acknowledge that the purpose of the Library is to provide copies
of scores and recordings to individuals/organisations with a genuine
interest in performing, recording or broadcasting works by
New Zealand composers.
Works borrowed from the Library are for the purpose of private study
eg. school or choir); $75 (large organisation eg. tertiary institution, orchestra)
and is renewable annually (GST inclusive). Please ask for clarification if unsure.
I/We agree to comply with the regulations of the Library
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only. I/We agree that scores or recordings will not be copied or
disseminated in any manner.
Recordings are not available for scholastic purposes in public without
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the individual or institution having first gained the permission of the
composer.
The Centre does not involve itself with rights. If the borrower wishes
to use the work in performance or any other public setting, it is the
borrower’s responsibility to secure the appropriate rights.
The items are on loan for a period of two months from the date of
issue. Cassette tapes may incur a dubbing cost of $2.00 per tape.
Failure to return items will invoke a charge and a temporary
suspension of borrowing rights.
Information about our library holdings can be obtained by application
to the Centre or visiting our website.
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16.
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