APO TURNS 40 REFLECTING GLOBAL COLLAB TRAGIC SIXTH ON 40 YEARS STEFAN DOHR EXPLORING AS AUCKLAND’S SHARES HIS MAHLER’S MOST ORCHESTRA PASSION PERSONAL WORK
SUMMER 2020 VOL.44 NO.1 your free copy
BEETHOVEN THE GREAT CELEBRATING HIS LEGACY 250 YEARS AFTER HIS BIRTH ALL ABOUT AUCKL ND 40 YEARS
Leave your mark in the music
The APO is proud to celebrate its 40th birthday in 2020. Help us continue enriching the lives of Aucklanders and thrive for the next 40 years by leaving a gift in your will to the Auckland Philharmonia Foundation Every gift, no matter the size, makes a difference. Please consider leaving a gift in your will to secure our future.
To find out more, please contact Adele Diviney, Development Manager (09) 638 6266 ext 247 [email protected]
Or visit the APO website apo.co.nz/pledge
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3 UPFRONT WITH BARBARA GLASER
Auckland Philharmonia Orchestra PO Box 7083 4 Victoria St APO NEWS Auckland 1142 Phone (09) 638 6266 APO Ticketing (09) 623 1052 [email protected] apo.co.nz 6 aporchestra 40 YEARS @aporchestra OF MUSIC aporchestra Phil News apo_nz (WeChat) looks back on 6 40 years of the APO Patrons Dame Kiri Te Kanawa, DBE, ONZ Dame Catherine Tizard, GCMG, 21 30 GCVO, DBE, ONZ, QSO OFF STAGE Dame Jenny Gibbs, DNZM 14 TRAGIC Eric Renick – Sir James Wallace, KNZM, ONZM BEETHOVEN’S SYMPHONY Ready, set, throw Dame Rosanne Meo, DNZM, LASTING LEGACY Exploring Mahler’s titanic OBE Beethoven experts share what Sixth Symphony Auckland Philharmonia makes the composer so revered Orchestra Board Geraint A. Martin (Chair) Leigh Auton 23 Naisi Chen Richard Ebbett 17 COMPOSER Gordon Hill DEMYSTIFYING CONNECTIONS Pare Keiha Composer Ralph Vaughan Kieran Raftery QC MUSIC Oliver Sealy Conductor and presenter Williams’ connection to Julian Smith Graham Abbott shares more New Zealand about his love for story-telling 21 24 DEVELOPMENT 18 NEWS 33 A WORK OF CRESCENDO NEWS HIS OWN Horn player Stefan Dohr explains how composer 25 Hans Abrahamsen’s latest CONNECTING 34 work came to be NEWS FOUNDATION NEWS PHIL NEWS CHAIR DONOR SPOTLIGHT SUMMER 2020 27 Editor Liesl Crowther MY GREAT LISTEN Cover Joseph Karl Stieler New Zealand composer 35 Dame Gillian Whitehead FRIENDS NEWS Design
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FROM THE CHIEF EXECUTIVE
1980 to the orchestra it is today, including Gillian Whitehead, Leonie Holmes, Chris stories of people who have been a part of Gendall, Celeste Oram and Alex Taylor, our journey throughout the years. featured in our 2020 programme. Turn to We share our 40th birthday with another page 27, where Dame Gillian shares some milestone event – Beethoven’s 250th. We’re of her favourite pieces of music. thrilled to join in the worldwide celebrations When looking back on the past by performing his nine symphonies across 40 years, it’s impossible not to think of four concerts – all in 9 days. This is APO’s beloved Kiwi pianist Michael Houstoun, first time performing a Beethoven symphony who has performed with the APO many, cycle and will be a significant moment in the many times since 1980. Sadly, Michael will orchestra’s history. be retiring at the end of this year following
IMAGE: ADRIAN MALLOCH ADRIAN IMAGE: In 2020 we welcome back Berlin an illustrious career. He’ll be performing Philharmonic’s Principal Horn Stefan with the orchestra one last time at our UPFRONT WITH Dohr to perform Danish composer Hans The New Zealand Herald Premier Series: Abrahamsen’s Horn Concerto. This new Houstoun Plays Rachmaninov concert in work is very dear to APO, because we July – a not-to-be-missed event. Tickets BARBARA are one of a group of orchestras from are selling fast, so don’t miss out! around the world – Berlin Philharmonic, In this issue we unpack Mahler’s GLASER NHK Symphony (Tokyo), the NTR massive Sixth Symphony, which APO is ZaterdagMatinee (Concertgebouw. performing in June, we explore English Welcome to the Summer 2020 issue Amsterdam) and Seattle Symphony – composer Ralph Vaughan Williams’ of Phil News. This year is a particularly who banded together to commission connection to New Zealand, and we learn exciting one for APO as we celebrate this piece. We also head back to why our Metlifecare Unwrap the Music our 40th birthday – that’s 40 years of Waiheke Island for a special In Your conductor and presenter Graham Abbott being Auckland’s orchestra, and 40 years Neighbourhood concert featuring Stefan. is passionate about sharing the stories of sharing the joy of orchestral music As we celebrate 40 years of bringing behind our favourite orchestral works. with communities in this amazing region. music to Aucklanders, we also celebrate We hope you enjoy this Summer issue In this issue of Phil News, we look the wonderfully talented composers of New of Phil News! back at APO’s journey from its start in Zealand, with works by Ross Harris, Dame
ad NZ ORCHESTRAS APPOINT FIRST ASSISTANT CONDUCTOR IN RESIDENCE
Auckland Philharmonia Orchestra is delighted to announce the appointment of New Zealander Vincent Hardaker as the first ever Assistant Conductor in Residence for the group of professional orchestras of New Zealand. The programme is an initiative across a consortium of orchestras to nurture the next generation of professional conductors in New Zealand. It is a collaboration between LITTLIES the APO, Christchurch Symphony Orchestra (CSO), Orchestra Wellington, Dunedin Symphony Orchestra (DSO) and New Zealand Symphony Orchestra (NZSO). LEARN “This position means so much to me as a Kiwi musician and I can’t wait to continue my exploration of classical music and the conducting profession, ABOUT THE alongside the great musicians of the APO and the other participating orchestras,” says Hardaker. ORCHESTRA Three conductors, selected from a longlist of 43, auditioned before a panel of musicians and management from participating orchestras on Friday 15 November. In May, New Zealand’s very own “The Assistant Conductor Programme was created to develop the depth of friendly monster Moe will be joining conducting talent in New Zealand and to expose conductors to the professional the APO to help children learn orchestra environment and give them the opportunity to grow in their practice,” about the instruments that make says APO Chief Executive Barbara Glaser. up the orchestra. Moe and his The first APO concert where Vincent will step up to the podium is APO friends will be using a famous piece Connecting’s Community Classics: Water concert on Saturday 9 May, 3pm, at of music by composer Benjamin Auckland Town Hall. Britten: The Young Person’s Guide to
APO NEWS APO the Orchestra. Written in 1945 with the subtitle 2020 Variations and Fugue on a Theme of WELCOME Purcell, it was based on the Rondeau FOUNDATION movement of Purcell’s Abdelazer suite. Originally commissioned for a TO THE APO SCHOLARSHIP British educational documentary film called Instruments of the Orchestra, FAMILY RECIPIENT it has been used ever since by music It’s been an exciting few months for ANNOUNCED educators worldwide to introduce the orchestra, as we have welcomed a young children to orchestral music. number of new members to the APO Each year, the Auckland Moe will also ask instruments from family both on stage and behind the Philharmonia Foundation each of the four main sections of the scenes. awards a scholarship to an orchestra – strings, woodwinds, brass Be sure to look out for our newest APO musician, giving them the and percussion – to demonstrate players on concert night – Section opportunity to further hone how each type of instrument works. Principal Clarinet Jonathan Cohen, their skills and gain new-found Moe and his other friends – Fern, Co-Principal Horn Norberto López, Sub knowledge of their instrument. Gilbert and Frank – might even ask Principal Cello Chen Cao, and Tutti This year’s recipient is Sub the musicians to play a few other Second Violins Liam Oborne and Lucìa Principal Horn Carl Wells, who’ll well-known pieces to highlight a few Siwy. be heading to the United States to special instruments! Recommended nd Working behind the scenes, APO’s attend the 52 International Horn for children 10 years and under. long-time Orchestra Manager Wendy Symposium in Oregon, participate Gardiner has stepped up into the role of in specialist low horn lessons, and APO 4 Kids Director of Operations. Wendy has been get to know some of the music part of APO since the 1990s, when she education initiatives in the US. Moe’s Guide To joined the orchestra as a viola player. Congratulations, Carl! At the end of 2019, we also The Orchestra welcomed two new board members – 10am & 11:30am, Sat 23 May businesswoman Naisi Chen and content Auckland Town Hall strategist and marketing expert Oliver 10am & 11:30am, Sat 30 May Sealy – who bring a wealth of expertise and experience to the table. Bruce Mason Centre, Takapuna We are delighted to welcome everyone apo.co.nz/moesguide on board and know that they’ll make an invaluable contribution to the orchestra! 4 IMAGE: ADRIAN MALLOCH apo.co.nz
YEAR OF PREMIERES
APO’s 2020 season is filled with an exciting mix of familiar favourites, but concertgoers can also look forward to a fantastic line-up of new works being premiered by the orchestra. In February, we’re joined by Stefan Dohr (Principal Horn Berlin Philharmonic) for the Australasian premiere of a new Horn Concerto by Hans Abrahamsen, jointly commissioned by the Berlin Philharmonic, APO, NHK Symphony (Tokyo), the NTR ZaterdagMatinee (Concertgebouw, Amsterdam) and the Seattle Symphony. You can read more about how this piece came to fruition on page 18. Premiering during our Beethoven 250 festival are three all-new works by New Zealand composers Dame APO YOUNG ACHIEVERS ENSEMBLE TOPPEE FLAT IMAGE: THOMAS HAMILL Gillian Whitehead, Chris Gendall, and Celeste Oram and Alex Taylor, especially commissioned by APO for the Ludwig Reflected speaker and chamber music series. CONNECTING KICKS APO has premiered all of Kiwi composer Ross Harris’ symphonies and OFF PARTNERSHIP his latest, Symphony No.7, is no exception. His latest work features in the programme for our The New Zealand Herald Premier WITH THE BLUES Series: Transformations concert in April. October sees APO’s very own Principal Oboe Bede Hanley step into the APO’s Connecting education and talent and hone their craft, shaping spotlight to perform the world premiere of outreach programme has teamed up Auckland’s future professional composer Gary Kulesha’s Oboe Concerto with the Blues Super Rugby club. musicians. This partnership with The – composed especially for Bede! The partnership will see up- Blues is one of those activities. Lastly, we’ll end our and-coming musicians of APO “We’re thrilled to join forces with mainstage concert Connecting’s Young Achievers the Blues, who share our passion for series with the initiative perform live at seven Blues Auckland and its communities,” says premiere of a new rugby matches played at Eden Park Director of APO Connecting Thomas work by Auckland and one match in Whangarei during Hamill. composer and the 2020 season. “The partnership will give our former APO APO Young Achievers are part Young Achievers a platform to step composer-in- of the orchestra’s Inspire Partnership into the spotlight and showcase their residence Programme, which works with aspiring talent. We hope that their passion for Leonie Holmes. young musicians aged 16 to 25. The music will inspire Blues fans and be a orchestra provides regular musical fun, uplifting and engaging presence at ROSS HARRIS IMAGE: ADRIAN MALLOCH activities designed to nurture their Blues games.” GALA EVENING RETURNS TO TOWN HALL
The annual Deloitte Winter Gala enjoying live entertainment from the returns to the Auckland Town Hall in orchestra and guest artists. 2020 following the success of last A silent auction of special items year’s event hosted at the APO’s will feature throughout the evening, home base for the first time. with proceeds going towards the APO The annual event, taking place on Connecting programme of education, Thursday 2 July this year, is a highlight community and outreach activities. on the APO calendar, with guests Keep an eye out for ticket coming together to enjoy a delectable information on the APO website. three-course meal and fine wines while THE 2019 DELOITTE WINTER GALA 5 40 YEARS OF MUSIC
In 2020, APO celebrates its 40th anniversary. Phil News looks back at how it has grown from a group of 19 musicians to the 72-piece orchestra it is today. APO HISTORY APO
Violinist Kate Walshe remembers it was to regain control over the future of well: the speed at which the Auckland the orchestra and its finances. Symphonia disbanded. The Phoenix Group worked hard over “It was July 1980. We were all down in the next few months to reform as the Rotorua when we got the news,” Walshe Auckland Regional Orchestra, a group led recalls. “Funding had been taken away, by then-Concertmaster Brecon Carter, and the Symphonia folded overnight.” as well as the late John Ure and Claudia Funding, that dreaded F-word. A Price, among other recognisable names persistent obstacle for cultural institutions in APO’s history. Kate says one thing that around the world, but perhaps even more stood out to her at that time was a feeling keenly felt in the world of symphony of hope. “Everyone was full of hope for orchestras, with a productivity model the future. We were so enthusiastic and frozen in time; you can’t scale down the just got stuck in.” number of musicians in a Beethoven Brecon Carter, who was symphony or simply add more concerts to Concertmaster from 1981 to 1987, spread the cost. explains: “Players had no funding straight But it was also funding frustrations away. We had to get daytime jobs and that ultimately ignited the determination rehearse in the evenings. Gradually the of a group of Auckland musicians to pick powers that had funds to offer started to up their instruments from the ashes of the realise that we were onto a good thing Symphonia, and reform as the Auckland and we got funding bit by bit. Regional Orchestra on 30 September “When the arts council came on 1980. This singular objective for those 19 our side and started giving funding this musicians, known as the Phoenix Group, was a huge positivity for the players. 6 apo.co.nz
The orchestra was fresh and exciting, and its character was distinct from any other orchestra in the country at that time.
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APO CONCERT AND SERIES PROGRAMMES FROM THE ‘80s AND ‘90s
We had gradually developed friendships up their day jobs and go into daytime The orchestra built an annual with important people in the community rehearsals. For many, it meant a career programme of concerts that included who supported us and that was really choice. For Auckland, it meant a full-time summer matinees and lunchtime concerts, important for us.” professional resident orchestra. as well as establishing an annual Opera What distinguished the orchestra at The orchestra was now in great in Concert tradition. Opera in the Park, this time was its cooperative approach. demand – regularly accompanying the and subsequently the Symphony Under The players oversaw everything, from Bolshoi Ballet tours at St James theatre, the Stars at Auckland Domain, drew in artistic programming and rehearsal performing alongside international stars record-breaking crowds for the orchestra, schedules, to auditioning new players. including Kiri Te Kanawa, and even Nigel with an estimated 350,000 people “It worked fantastically – we had to meet Kennedy, who was hot off the success of attending the 1996 concert. probably once a week as a group. We’d his highly-acclaimed 1984 recording of The APO also made a commitment all sit in the greenroom at Phil Hall [the Elgar’s Violin Concerto. to supporting New Zealand composers, orchestra’s rehearsal space on Dominion Throughout the years, the APO also establishing its Composer-in-Residence Road] and hash out issues,” Walshe says. collected the full set of the Three Tenors; programme in 1996. There were subcommittees for day-to-day supporting Placido Domingo in 1992, In 2004, Prime Minister and Minister administration, but big decisions, including Jose Carreras in 1994, and finally Luciano for the Arts Helen Clark, who believed the auditioning new players, were always Pavarotti in 1999, and again for his final orchestra was an important asset to the made as a group. Rehearsals were in the NZ concert tour in 2005. city, helped change the funding system evening, as players all held day jobs. Behind the scenes, support for the by working with various stakeholders Christopher Blake, who was General orchestra also grew; the Friends of the to reform the city councils and create a Manager of APO from 1985–1990, says APO, a group of volunteers established stable funding stream for the orchestra. it was a very exciting time to be part of the at the very start of the Auckland Regional The Auckland Regional Amenities orchestra. “It was a coming together of Orchestra, continued valuable fundraising Funding Act 2008 saw local authorities people in contemporary classical music. activities and in 1987 the Auckland assume more responsibility for supporting We collaborated with many New Zealand Philharmonia Foundation was established the orchestra and this continued under composers and did a lot of commissions to secure the future of the orchestra. the new Auckland Council. during that time,” he says. “There was a great deal of community For all its success and extraordinary As it was a small orchestra, with thirty support. The musicians were determined growth during the 1990s, the APO’s or so players, the repertoire played was to have an orchestra and the Auckland funding situation remained precarious, mostly classical. The first series concert community responded to that. There and in 2005 the decision was made to from the new Auckland Regional Orchestra was so much energetic activity around transition the orchestra to a traditional would take place on 4 November 1981, the orchestra and all of the hard work management structure. featuring a programme of Vivaldi’s Spring, translated into what the orchestra is today From its humble beginnings in 1980 Mozart’s Symphony No.35, Beethoven’s – Auckland’s orchestra, enjoyed by the to the 72-piece orchestra it is today, Symphony No.2 and Britten’s Serenade citizens of Auckland,” says Blake. the APO continues to go from strength for Tenor, Horn and Strings, featuring John Gretchen La Roche, Chief Executive to strength and leave an impression on Ure as soloist. The orchestra’s Principal Officer of Christchurch Symphony those who connect with it, like La Roche. Conductor Georg Tinter conducted the Orchestra, recalls how thrilling it was for She explains, “The APO was so concert, which sold out. her to experience the orchestra as a young, influential in my development as a “There was a great morale, and a developing musician during the ’80s. musician and as a person. It really real feeling of family,” Walshe says. “We She says: “What was remarkable to me, captured that coming-of-age of New owned the orchestra, and we were and to everyone, was that Auckland was Zealand and finding one’s own identity. invested in the outcomes.” shaping its own character and embracing APO reflected that, which I was going By 1985 the group had become the dynamic of a city of the Pacific. The through as an adult, so beautifully.” known as the Auckland Philharmonia orchestra was fresh and exciting, and Orchestra, a name change designed its character was distinct from any other to better reflect the aspirations of the orchestra in the country at that time. Celebrate 40 orchestra. 1985 also signalled the next “The orchestra was consciously 7:30pm, Wed 9 September great leap for the orchestra, with full-time reflecting Auckland and its confidence Auckland Town Hall retainers paid to a core orchestra of 45 and the character of New Zealand. There musicians. It meant musicians could give was something special going on.” apo.co.nz/celebrate40 9 countless people who have been There have been Chris Blake part of APO’s journey since the orchestra’s inception APO General in 1980 – from musicians, to administrative staff Manager, members, to patrons and supporters. 1985–1990
Phil News caught up with some of the people who “When I first joined have played a role in the growth and development the orchestra in 1985 players were still the governing of the orchestra throughout the years, people whose body, with a big business advisory group lives were impacted by APO, and people who are still supporting them. “The orchestra was struggling financially, involved with the orchestra today. and audiences were really small. We were keen to get things rolling, so everyone committed a lot of time of energy. One of the Philippa Harris first things I noticed when I joined was that the orchestra had to connect more strongly APO Executive Secretary, to Auckland, so we launched our first big 1985–1993 marketing campaign using the Harbour Bridge. We produced our first full colour “I was lucky enough to be part of the brochure. orchestra at that time because it was evolving “In the following years we continued our just as Auckland was going through a huge efforts and by 1990 we were fully subscribed growth spurt and the city itself changing its and the orchestra experienced a market character. The orchestra grew from its uncertain re-incarnation boom. after the demise of the Auckland Symphonia into a sophisticated “It was a coming together of people professional organisation which I believe set the foundations for in contemporary classical music. We the current successful organisation that it is. collaborated with many New Zealand “When I started, I had one typewriter. When I finished everyone had composers and did a lot of commissions their own computer. So, my job had evolved from doing everyone’s typing during that time. For the 10th anniversary to one which involved more of the artistic admin and being secretary to in 1990, APO commissioned 10 orchestra the CEO plus secretary to the various committees. It was an absolutely fanfares, all by Auckland composers. fascinating time. “There was a great deal of community “As Auckland grew so did the need for the orchestra to connect more support. The musicians were determined with the community. Funding needed to be sought from a wider variety to have an orchestra and the Auckland of sectors of the community – hence the appointment of a Development community responded to that. There was so Manager to help source sponsorships and trust funding. Also, the much energetic activity around the orchestra projects started to vary – education and schools concerts, light music and all of the hard work translated into what concerts etc. the orchestra is today – Auckland’s orchestra, “What made the changes in the APO so interesting for me was that enjoyed by the citizens of Auckland. when I arrived as General Manager of the Dunedin Symphony Orchestra, “Looking back, it was an exciting time I found the orchestra in Dunedin was at a similar stage of growth to where for me. I worked as a composer as well and the APO was when I joined them, and so I’ve been to introduce some of there was a real community of performers and the things I’d been so fortunate to learn and experience during my time composers working around the orchestra, with the APO.” which was very open-minded.”
her inspirational teacher play in this orchestra. What was Gretchen La Roche remarkable to me, and to everyone, was that Auckland was Chief Executive, shaping its own character and embracing the dynamic of a city of the Pacific. The orchestra was fresh and exciting, and its Christchurch character was distinct from any other orchestra in the country Symphony Orchestra at that time. The orchestra was consciously reflecting Auckland and its confidence and the character of New Zealand. There “My connection with APO began was something special going on. when I was a high school student “It was such a gift to be exposed to that early on. It growing up in Gisborne. I was a young clarinet player and ignited my love of orchestra and fuelled my interest from my the local teacher had left, so it was suggested that my early stages as a musician to later in a professional capacity parents contact Peter Scholes, then Principal Clarinet of leading an orchestra. The APO was so influential in my APO, to take me on as a student. development as a musician and as a person. It really captured “I tried to coincide my trips with APO concerts so I that coming-of-age of New Zealand and finding one’s own could stay on and attend, so my first experience of the APO identity. APO reflected that, which I was going through as an was in the ’80s as a young, developing musician watching adult, so beautifully.”
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Tony Waring group to stage a battle outside The Civic against a band of gladiators. APO Marketing Manager, 1994–1998 Those guys got right into their roles, “I joined the APO in 1994 as Marketing Manager, with and one of the gladiators went to very little knowledge of orchestral music. ‘However’, I hospital with a sword wound! said to GM Paul McLaren at the interview, ‘I think I am “We also had fun with the Proms representative of your potential audience, which may promotion, closing off Queen Street be the best perspective for your marketing manager to for a race from QEII Square to the Town come from.’ Hall between teams of six from the Police and Fire Service “My favourite project was introducing Live Cinema to pulling London taxis, and following behind them was a Auckland, with the orchestra putting on amazing recreations London double decker bus full of orchestra players, and of the original movie experience with Ben-Hur, The Thief of conductor Sir William Southgate as the bus conductor. We Baghdad, The Four Horsemen of the Apocalypse, and Charlie also had a celebrity cricket match in Aotea Square, which Chaplin’s City Lights and The Gold Rush. Staging these was rained out one year, but the marvellous TV presenter events at The Civic and St James made these events like a John Hawkesby was determined to get us our photo trip back in time to the golden era of the movies. Footage opportunity for the assembled TV and press photographers, from the films made great TV ads, and we further hyped up and braved the downpour by going out to inspect the Ben-Hur by enlisting the local Roman legion re-enactment wicket.”
Dame Rosanne Meo Brecon Carter APO Patron & APO Concertmaster, Chair Donor 1981–1997
“I was first approached to join the “In 1980, when the Auckland board around 35 years ago. From Symphonia went into the first meeting I went to I felt liquidation, some players got an enormous passion to be involved with the orchestra. together and decided to form It exposed me to the arts sector in a way, particularly an incorporated society of their own so they could orchestral music, I hadn’t been involved before. run the orchestra. “The most impressive thing for me has been to see the “Players had no funding straight away. We had organisation grow from being a small group of incredibly to get daytime jobs and rehearse in the evenings. enthusiastic, dedicated musicians to the professional Gradually the powers that had funds to offer started organisation it is now. The same passion has remained to realise that we were onto a good thing and we got amongst the players of the APO and this sets them apart funding bit by bit. from many other organisations. “When the arts council came on our side and “In the late-90s and then in 2004 the orchestra went started giving funding this was a huge positivity for the through a very difficult stage in terms of funding and players. We had gradually developed friendships with ownership. I had retired from the board by then, but I was important people in the community who supported us asked by a group of players to come back and along with and that was really important for us. Tim Hannah, Richard Ebbett and a group of musicians we “One of the great things that we did was a series set about restructuring APO. of Baroque concerts which we did in Symphonia Hall, “It required enormous commitment from the players which was an old cinema. to trust us as to what we thought were the right next “We did those Baroque concerts with no conductor, steps. That began the pathway of us recruiting current I directed from the leader’s chair. This is a wonderful Chief Executive Barbara Glaser, who has brought an learning process for orchestra players, they have to international and very professional leadership to the role and listen to what everyone else is doing and combine with introduced us to people we couldn’t access before. Her it. You can’t rely on watching someone keeping time. combined leadership with music directors Eckehard Stier “My relationship with the conductors was important. and Giordano Bellincampi has been huge in terms of the The concertmaster is a strong connection between the orchestra and players’ development. guy on the podium and the orchestra. I remember one “For me, it’s not just about the music, it’s about the time, Eric Bergel, who was Principal Guest Conductor players and getting to know them. I regard them with at the time, stopped the orchestra mid-rehearsal genuine affection and seeing their growth and development, and said to the trombone section ‘You are sounding as well as the organisation’s, has been an incredible gift like cows!’. You can imagine the response was very for me. It’s been a great honour both as board member, negative. One of the principal jobs of the leader was to patron and chair donor. When I am sitting in the hall during a be a peacemaker, so I asked ‘Maestro, how do you spell concert and watch the orchestra it’s wonderful to reflect on that word?’ and he said ‘C-H-A-O-S’. Turns out we had that journey and I’m very grateful for that.” misheard him!”
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Each person will experience something else, for each person it will be a different journey. That’s what it is to listen to Beethoven.
14 apo.co.nz Beethoven’s lasting legacy
In celebration of Beethoven’s 250th birthday this year, the APO are undertaking one of the most challenging and rewarding endeavours in orchestral music – his symphony cycle. Liesl Crowther talks to two Beethoven experts about what makes the composer’s symphonies so extraordinary.
Legend has it that, after seeing a “What we’re seeing now, 250 years young Beethoven perform, Mozart said on, is that his music is so multifaceted something along the lines of: “Mark and complex that people connect to it that young man, he will make a name in different ways. It still means different for himself in the world.” Today these things to audiences who listen in different words certainly ring true, as orchestras ways. People with completely different around the world are hosting special sociological and political backgrounds concerts and events to commemorate can still connect to that music,” she says. the composer’s 250th birthday in 2020. “Each person will experience Though many composers have stood something else, for each person it will the test of time, Beethoven most often be a different journey. That’s what it is to emerges as the most popular of the listen to Beethoven. That’s a testament to bunch. In 2019, he was voted Australia’s its power to speak to people.” favourite composer in ABC Classic FM’s During his lifetime, Beethoven Classic 100 Composer poll. He also composed nine symphonies, 32 piano came out tops in the UK’s Classic FM sonatas, one opera, five piano concertos, Hall of Fame 2019, beating out Mozart as 16 string quartets and numerous other listeners’ favourite composer with 21 of chamber works. Of all of his works, his his masterworks featured on the chart. In symphonies have arguably captivated New Zealand, he was the most featured audiences the most. composer in RNZ Concert’s Settling “His symphonies seem to survive the Score 2019 poll of Kiwis’ favourite translation. For music to be transposed classical music pieces. from the concert hall down to solid piano Nancy November, Associate and for people to still like playing it, says Professor of musicology at The University something about the richness of the of Auckland, explains that the multifaceted composition,” says November. nature of his compositions is one of the From the very first notes of his First 1819 PORTRAIT key elements that makes Beethoven’s Symphony Beethoven broke the mould, BY FERDINAND SCHIMON music so enduring. starting the piece in the wrong key and 15 with a dissonant chord – something sense of fate knocking at the door within completely deaf, is a testament to this. unheard of at the time. its first eight notes. His use of voices was revolutionary “Each work is highly individual and “A cycle of the Beethoven (until then, symphonies had been purely presents both technical and interpretive symphonies is always an adventure, a orchestral) and the work set a new challenges. This music is rightly said to major undertaking for the performers but benchmark for future composers. Its be better than it can be played, richer also the audience. Each of them raises exploration of the path from darkness to than can be conveyed in any single fascinating issues,” says Kinderman. light ushered in a new musical era and performance,” explains William Kinderman, “The Sixth or ‘Pastoral’ Symphony, for cemented Beethoven’s place in history a professor of music at the UCLA Herb instance, is bound up with a conception and it remains one of the most beloved Alpert School of Music and author of the of nature that resonates with current pieces of music around the world. upcoming book Beethoven: A Political concerns about our environment. The Artist in Revolutionary Times. intrinsic value of nature emphasised by “Beethoven sought to counter Beethoven, and following the penultimate difficult social and political conditions storm movement, the shepherd’s closing The Classicist through artworks that project positive hymn offers thanksgiving to the godhead, 7:30pm, Sat 21 March energies and seem to envision ways of making a gesture toward protection of Auckland Town Hall surmounting difficulties. He lived through our increasingly endangered planet. some of the most turbulent times in Beethoven was familiar with issues of European history: the French Revolution, climate change, since he was aware of The Romantic the Reign of Terror, Napoleon’s rise the cooling after the Tambora volcanic 7:30pm, Tue 24 March and fall, the repressive politics of the eruption of 1815, causing widespread Auckland Town Hall Metternich regime in Austria after 1815. famine in the year that followed.” “His music reflects the principles of November explains that it is obvious, The Revolutionary the French Revolution (liberty – fraternity from Beethoven’s conversation books – equality) but not the disappointing from 1818 onwards, that the great 7:30pm, Thu 26 March political events that actually ensued. His composer became increasingly interested Auckland Town Hall artworks often project ‘effigies of the idea,’ in how his music was perceived as his or positive symbols that can help inspire hearing loss progressed. “Instead of The Radical us to maintain courage and confidence in retreating into himself as his hearing loss potential progress,” he says. intensified, he became more outwardly 5pm, Sun 29 March This is evident in the heroic tone focused,” she says. “He became aware Auckland Town Hall of his Third Symphony, known as the of how our other senses have a bearing apo.co.nz/beethoven250 ‘Eroica’ Symphony, which was originally on our perception of music, creating a dedicated to Napoleon Bonaparte until, to multimedia phenomenon, a richer audio Beethoven’s outrage, he declared himself landscape.” Emperor of France. The same can be said His final, astounding Ninth Symphony, Supported by the APO Stellar Fund and for his Fifth Symphony, which evokes a which he finished when he was the Rua & Clarrie Stevens Charitable Trust
DID YOU KNOW? The unique, NZ-inspired artwork for APO’s Beethoven 250 festival was specially created by Kiwi artist Enuake Sirikige for the orchestra. Check out the Watch & Listen page on our website (apo.co.nz) to see a time- lapse video of Enuake creating the bespoke artwork.
16 apo.co.nz Demystifying music
Conductor and presenter
IMAGE: ADRIAN MALLOCH Graham Abbott talks to Liesl Crowther about his lifelong passion for telling the stories behind the music.
To say that conductor Graham Abbott of Adelaide before joining the Melbourne overture from Rossini’s opera William Tell, is passionate about music education is Symphony Orchestra as Associate the Four Sea Interludes from Britten’s an understatement. Conductor. Peter Grimes (of which APO will perform The APO Metlifecare Unwrap “The mass media rarely gives time the full opera on Friday 9 October) and the Music presenter remembers first to classical music, so people can be Saint-Saëns’ Organ Symphony. encountering classical music watching forgiven for thinking ‘does that still “It’s music that will blow audiences Bugs Bunny cartoons as a young boy. happen?’. I want to make sure that people out of their seats. Each programme Though he comes from a non-musical who love this sort of music realise that has thunderous and big music, but family, he recalls always having a desire to others love it too, and it’s okay to love it. also music that’s incredibly subtle, like be involved in music, asking his mother to Music is valuable and exciting and part the breathtakingly beautiful Dawn and teach him to use their record of life, like a football Moonlight from the Four Sea Interludes, player as a young boy, match or a barbecue. and the quintet for cellos of Rossini’s attending his first orchestral Just like people talk William Tell Overture. It’s a something-for- concert at age 14, learning Just like people about Miley Cyrus or everyone sort of year, with the orchestra the recorder, piano and Taylor Swift, it’s okay to there in all its glory.” violin at school and viola at talk about talk about Haydn over university. dinner.” However, his main Miley Cyrus or Nowadays, interest has always been Taylor Swift, alongside his role as Metlifecare music education. “I’ve Metlifecare Unwrap Unwrap the Music always had great joy it’s okay to talk the Music presenter, Rossini’s revealing what goes on about Haydn Graham works as a within a piece and telling the freelance conductor William Tell story behind it. I remember over dinner. and continues to as a student being blown present on Australia’s 6:30pm, Tue 19 May away by a poem being ABC Classic FM radio Auckland Town Hall explained, discovering its station, which he has layered meaning. I instantly applied it to been doing since 2003. Britten’s Four music. When I see music, I see something For Graham, it’s all about the “a-ha the listener can’t always hear.” moment”, when people learn something Sea Interludes After five years as a high school new about a piece of music or learn to 6:30pm, Tue 30 June music teacher – conducting community listen to it in a different way. “There is a orchestras and choirs on the side – he fulfilment in unpacking something. It’s like Auckland Town Hall won the ABC Williem van Otterloo discovering hidden things in a painting. Conducting Scholarship, enabling him It’s an enriching experience, it makes us Saint-Saëns’ to study for a year with British-Australian better somehow.” conductor Myer Fredman at the Sydney His love for telling the stories behind Organ Symphony Conservatorium Opera School. This was music is evident at APO Metlifecare 6:30pm, Wed 2 September the foot-in-the-door opportunity he had Unwrap the Music concerts, where Auckland Town Hall been waiting for. Graham exuberantly draws audiences in apo.co.nz/unwrap Following his apprenticeship at the with interesting facts for concertgoers of opera school, he stepped into the role of all ages and knowledge levels. conductor-in-residence at The University This year, he’ll be unpacking the 17 A work of his own
Known for his exceptional talent as a horn player, Stefan Dohr is also an advocate for new music for the instrument. Tabatha McFadyen chats to him about his latest project in collaboration with composer Hans Abrahamsen and a group of orchestras from around STEFAN DOHR the globe – including APO.
In 2013, the Berlin Philharmonic Japan’s NHK Orchestra, Amsterdam’s Of course, to get the powers that be premiered a new work by Danish NTR Zaterdag Matinee, the Seattle behind a new work, the performer also composer Hans Abrahamsen. This Symphony Orchestra followed, after needs a significant enough profile to piece, entitled Let me tell you, has which time Dohr approached the APO get orchestras and audiences excited. reached a global level of acclaim that to see if they’d be interested in joining Dohr fits the bill: his is the kind of playing is increasingly rare for new works, but the party. that has come to redefine the limits of what really sets it apart is the intensity “We approached the APO for a possibility for a hornist. He seemingly has of the audience reaction. couple of reasons,” he explains. “Firstly a capacity to play both louder and softer Instead of the piously appreciative because I felt a great connection to than anyone else, a preternatural gift for applause often elicited by audiences the orchestra last time I played there shaping a phrase and one must assume a after a challenging piece of contemporary (in 2017), and also because I was third lung hidden somewhere. As a critic music, it’s met with rapturous standing so impressed by their commitment to once said, “Dohr is not only one of the ovations, one of the factors that’s led to interesting, adventurous programming, great horn players, he is one of the great it being performed an almost unheard especially considering, that as far as instrumentalists”. This leads to him having of 37 times (so far). It was awarded the I’m aware, they have a far less luxurious what he describes as his ideal career: an prestigious 2016 Grawemeyer Award – funding situation than we have here ever-changing mix of orchestral playing, kind of like the Nobel Prize for classical in Germany.” When he mentioned to solo concerts, teaching and chamber music. composition – and a recent collaboration Abrahamsen that he wanted to approach The variety of his interests will be on of seven of The Guardian’s critics named the APO, the composer was delighted display during his visit to New Zealand. it as ‘The Best Classical Music Work of for another reason: unbeknownst to Dohr, In addition to his performance with the the 21st Century’. he and APO Music Director Giordano full APO, he will lead a masterclass Stefan Dohr played the premiere Bellincampi (who will conduct the work with students at the Auckland School as a member of the legendary Berlin in the first New Zealand Herald Premier of Music and play a chamber music Philharmonic, where he has held the Series Concert for 2020) have been concert with APO members as part of position of Principal Horn since 1993. He long-time colleagues and friends. the In Your Neighbourhood series. The knew immediately that it was something This new concerto is part of Dohr’s programme, compiled by Dohr, is a special. “I thought it was one of the most on-going project of championing new mix of Slavic repertoire by Dvořak and compelling new works I’d heard for a long works for the horn. “I want to expand Martinů, enjoying both its lyrical melodic time,” he explains. “When I heard from a the repertoire for the instrument, partly possibilities and driving rhythmic fervour. colleague that Hans also played the horn, because I don’t want to be trapped only With all of that, does he find time to I had to ask him if he would be interested playing Strauss and Mozart, much as I do anything other than playing the horn? in writing a concerto.” love them, when I have the opportunity to “At the moment things are very busy, but Abrahamsen enthusiastically agreed. play as a soloist. Most importantly though, I really love what I do so I feel very lucky The process to get the necessary number I believe that if we don’t keep creating that my calendar is as full as it is. When I of orchestras together to finance the chances for new music to be heard, new do get time though, I love sailing, and of commission began immediately. First voices can’t develop and that’s when course great food and wine – three things came the Berlin Philharmonic itself. music starts to die.” that Auckland seems to do very well!” 18 apo.co.nz
A work of . . . I believe that if we don’t keep creating chances for new music to be heard, his own new voices can’t develop and that’s when music starts to die.
The New Zealand Herald Premier Series Bach & Brahms 8pm, Thur 20 February Auckland Town Hall
Conductor Giordano Bellincampi Horn Stefan Dohr
J.S. Bach Orchestral Suite No.3 Hans Abrahamsen Horn Concerto (Australasian premiere) Brahms Symphony No.2
apo.co.nz/bachbrahms
In Your Neighbourhood Island Time 3:30pm, Sun 23 February Waiheke Island
Featuring Stefan Dohr, Principal Horn Berlin Philharmonic
Dvořák Serenade for Winds Martinů Nonet No.2
apo.co.nz/islandtime
IMAGES: SIMON PAULY
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APO0048 Stanley Street_Ad 200x287mm.indd 1 6/11/19 4:21 PM apo.co.nz Tragic symphony In her memoirs, Mahler’s wife Alma described the composer’s Sixth Symphony as “his most personal work”. Alastair McKean ponders this titanic piece of music.
Mahler’s Sixth Symphony is an Scherzo, as they’re both in the same key. march, not unusual for Mahler, but this overpowering emotional experience, I’ve oversimplified his argument, but the one is different: it’s urgent, hard, not a but when it’s programmed, orchestras point is that the argument can be made. jovial military band but the tramp of an must start by asking the conductor two The difficulty is that to posit Scherzo/ army on the move. A couple of minutes in, fairly prosaic questions. Andante as Mahler’s final decision must though, the music peters out on a gurgle Firstly: what’s the order of the rely on speculation about what Mahler in the contrabassoon. Out of nowhere, movements? Mahler’s autograph score is might have done, rather than the available the timpani play a stentorian rhythm: bam! first movement, Scherzo, Andante, Finale. biographical and documentary evidence bam! ba-bam bam bam! Over this, the At the première, though (literally at the of what he did. trumpets play a bright, shining A major première: he made the decision after the And as if that’s not enough, we also chord – which immediately darkens to A dress rehearsal), he switched the middle need to ask the conductor: how many minor. This doom-laden motif reappears movements, so Andante then Scherzo. hammer blows? In the Finale, Mahler throughout the piece. Shorn of the The score was already in print, so Mahler writes for an instrument called ‘hammer’. hopeful major chord, it closes the piece, asked the publisher to insert an errata This raises firstly the question of precisely in desolation. slip, and he always played Andante/ what this means, the hammer not being It’s the bleakest conclusion to any Scherzo thereafter. an instrument taught at Juilliard. Mahler of Mahler’s works, but it’s wrong to Then in 1919, the conductor Willem wanted a powerful, non-metallic thud, dismiss the symphony as an exercise in Mengelberg sought clarification on the and most orchestras obtain a Thor- unremitting gloom. A blissful passage order from Mahler’s widow Alma. It’s dimensioned monstrosity with which with offstage cowbells paints the alpine not clear why he asked: he had known the percussionists assail a large box. In landscapes Mahler so loved; the Andante Mahler, and indeed had conducted the the autograph they do so five times, but (wherever it ends up) is beautiful; and symphony a few years earlier as Andante/ Mahler cut two hammer-blows before shortly after our doom-laden motif, Scherzo. Alma sent a telegram: ‘first the première. And while revising the there comes a great melody, marked Scherzo then Andante’, and this lit the symphony before its second performance, ‘Schwungvoll’, which we might translate touch-paper. he cut the last of the remaining three. as ‘full of life’. Alma writes: ‘he came Scherzo/Andante can be supported Some conductors prefer to reinstate the down from the wood to tell me he had by musical logic. For instance, David third blow, which raises the question of tried to express me in a theme’. Mahler Matthews, the composer and Mahler why Mahler cut it in the first place. Here enthusiasts can get quite heated arguing scholar, argues the impact of the Finale we go back to Alma. about Andante/Scherzo or the third is lessened if we have just heard the They had been married two years, hammer blow. But all agree that this with two small daughters, when Mahler remarkable woman inspired this ‘great led his wife up the path to his composing soaring theme’. If the symphony is tragic, GUSTAV MAHLER hut near their lakeside summer villa, and its outcome nevertheless isn’t pre- played her his just-completed symphony. ordained. Hope remains until the last. It’s They both wept. In her memoirs, Alma an overpowering emotional experience famously said that in the Finale, Mahler because, like that major-to-minor shift, had described the downfall of his hero, it shines so brightly before falling into ‘on whom fall three blows of fate, the last darkness. of which fells him as a tree is felled.’ She adds darkly: ‘Those were his words.’ And in 1907 three terrible things happened: The New Zealand Herald Mahler resigned under pressure as head Premier Series of the Vienna Court Opera, their eldest daughter suddenly died, and he was Mahler 6 diagnosed with the heart condition that 8pm, Thur 25 June ultimately killed him. The romantic story Auckland Town Hall is that Mahler excised the third hammer blow out of superstition, to ward off the Conductor Antony Hermus third ‘blow of fate’. But the chronology Mahler Symphony No.6 doesn’t match; he made the cut in 1906. It was a musical decision. apo.co.nz/mahler6 Not that the symphony doesn’t earn its ‘Tragic’ nickname. It starts with a 21 THE KEY TO A GOOD EVENING
Proud supporters of the Auckland Philharmonia Orchestra.
SKYA12629 GrandHotel Ad_PhilNews-A4_Harp_2.0ƒ.indd 1 8/11/19 3:48 PM apo.co.nz Composer connections English composer Ralph Vaughan Williams’ The Lark Ascending was crowned listeners’ favourite piece of music in Classic FM’s Hall of Fame 2019. William Green explores his influence on Kiwi composers.
The name Ralph Vaughan Williams Hubert Parry Prize and the Cobbett Prize. in recording a CD of her orchestral music conjures up things quintessentially While Vaughan Williams concentrated some years ago. She is currently being English – folk song, modal music, and more on compositional integrity and cared for by family north of Kerikeri, and at a sense of nostalgia and restraint. thought processes rather than technical the time of writing is just five months shy While we’ll be hearing from the ‘city’ aspects, Lilburn picked up some of of her 100th birthday – a living link with composer when the orchestra plays A his mannerisms such as the modal the great man. London Symphony in March, images of flattened 7ths. Ever the New Zealander, As a young country, the search rolling English countryside are seldom Lilburn responded to his own landscape for an identity has weighed heavily on far from our minds when we listen to his (my 2018 visit to Drysdale in the our creative artists, and in this regard, music. With our more rugged terrain and remote Turakina Valley revealed sharp, we come back to Lilburn. He admired impressive volcanic cones, we’re half a craggy cliffs rather than rolling English Vaughan Williams’ insistence on self- world away from such Englishness down meadows) but his mentor continued to discovery and even attributed the older here in the South Pacific, but has the be an influence, particularly in the period composer’s slow start to his inward personality and character of Vaughan culminating in the Second Symphony. search, rather than a hasty adaptation to Williams left any imprints on our own Lilburn in turn passed on his own any prevailing style. The result, Lilburn composers in Aotearoa? wisdom, initially at the Cambridge once wrote, was music which “conveys While earlier New Zealand composers Summer Music Schools in the late 1940s, the man’s essential humanity, his such as Ernest Jenner, Hugo Anson and and it would be surprising if something of tenderness as well as his strength, and Harry Luscombe could hardly escape Vaughan Williams didn’t permeate down the searching simplicity of his wisdom.”3 his wide-ranging influence, our most to these ‘second generation’ composers William Green is an Auckland-based pianist, direct link to Vaughan Williams is through (most strongly to Dorothea Franchi and composer and arranger. He will be giving the pre- Douglas Lilburn, who studied composition Ron Dellow, perhaps). John Ritchie also concert talk for The New Zealand Herald Premier with him at the Royal College of Music fell under his spell to some extent and, a Series: Cityscapes. in the late 1930s. At this stage Vaughan generation further removed, Ross Harris Williams was in his mid to late 60s, has cited Vaughan Williams as an early The New Zealand Herald teaching there one day a week, and was influence (see if you can detect any when Premier Series said to have muttered, “another wretched Ross’ Symphony No.7 is premiered by the Cityscapes student wants to come to me.”1 Asked APO on 23 April). one day, “isn’t it time you composed Perhaps the strongest link we have 8pm, Thur 5 March something?”2, Lilburn responded with the is through English-born, New Zealand Auckland Town Hall Drysdale Overture (named after the rural composer Margaret Wegener. A New Zealand homestead where he grew close friend of Vaughan Williams, who Conductor Robert Spano up). It was given a reading rehearsal by helped to get her music published, her Flute Melanie Lançon Harp Ingrid Bauer the College’s First Orchestra (an honour compositions are heavily influenced by reserved for the select few) and Lilburn him, particularly her songs and choral Jennifer Higdon City Scape: river sings went on to win the Foli Scholarship, the music. Many APO players were involved a song to trees Mozart Concerto for Flute and Harp
1. Philip Norman, ‘Douglas Lilburn: His Life and Music’ p.75 Vaughan Williams A London Symphony 2. Ibid p.74 3. Douglas Lilburn ed. Robert Hoskins, ‘Memories of Early Years and other Writings’ p. 98 apo.co.nz/cityscapes Philip Norman, ‘Douglas Lilburn: His Life and Music’ (Canterbury University Press, 2006) Douglas Lilburn ed. Robert Hoskins, ‘Memories of Early Years and other Writings’ (Steele Roberts, 2014) John Mansfield Thomson, ‘Biographical Dictionary of New Zealand Composers’ (Victoria University Press, 1990) 23 DEVELOPMENT NEWS Playing our parts You can help provide the music scores for the APO’s 2020 season by donating to IMAGE: ADRIAN MALLOCH the Notes Fund.
It seems a simple observation to make, but for the hundreds of pieces of music that the APO performs each year, every player needs a score on their stand to guide them. The APO spends over $35,000 per annum on scores. that are particular to our orchestra, musical scores and parts that you can The Notes Fund enables APO so we don’t have to waste more time provide for the orchestra’s 2020 concerts, supporters to share the joy of music than necessary preparing the music for please visit apo.co.nz/support- with others either by donating towards subsequent performances.” donate/notes-fund/ a specific score or making a general “This year is extra special for APO donation. as we celebrate our 40th anniversary. It It is important for the orchestra to would be a wonderful gift to the orchestra To learn more, get in touch with purchase scores outright rather than to reach our goal for 2020. We’ve had Charlotte Crocker, APO Annual hiring them whenever possible. As APO a great response so far, but we still Giving Programmes Executive: Librarian Robert Johnson explains, “it need your help,” says APO Director of [email protected] means we can preserve all our own string Development Susan Wall. bowings and other performance markings If you would like to see a full list of 09 638 6266 ext. 234 IMAGE: DEAN ZILLWOOD DEAN IMAGE: Houstoun’s Last Hurrah
6.30pm, Thursday 7 May Hosted by APO, Haydn Staples and Private residence, St Heliers Lynley Stewart, the evening will include a conversation between Houstoun and Join us for a special APO fundraiser APO Chief Executive Barbara Glaser, as with much-loved New Zealand pianist well as an intimate performance by the Michael Houstoun ahead of his The acclaimed pianist. New Zealand Herald Premier Series: Tickets: $300 per person – limited to Houstoun Plays Rachmaninov concert 50 guests. with APO in July. Houstoun is retiring from the stage To find out more or to reserve your after enjoying an illustrious career tickets, please contact Development spanning 50 years, so this is one of the Manager Adele Diviney last opportunities to revel in his talents [email protected] and meet him before he retires. 09 638 6266 ext 247
24 * Funds raised will support NZ artists performing with the APO. apo.co.nz CONNECTING NEWS Orchestra symbols
APO Connecting have partnered with Te Kura Māori o Ngā Tapuwae to create unique kōwhaiwhai (Māori designs) that will be displayed at education and family concerts across future Connecting seasons.
Scarves and ties are so 1990s! For contrabassoon with the piccolo in the years musicians performing at APO winds? The students at Ngā Tapuwae Connecting concerts have shown rose to the occasion and have created off their section of the orchestra by kōwhaiwhai for every section that is adorning themselves with coloured imbued with meaning and that captures scarves or ties: red for Strings, yellow the essence of the orchestral sections with for Brass, green for Percussion and delicate understanding and real panache. blue for Woodwind. But this year Some of the thought that has gone we decided to make a change and into the art is really clever. For example, get rid of the old-fashioned staples the woodwind symbol retains its blue and replace them with something colouring. In Te Ao Māori, the colour blue innovative which speaks to the bi- represents the Māori god Tawhirimatea, cultural context that the APO operates the god of wind, which is needed to blow in within Aotearoa. Step up our first into the instrument and make sound. This partner school: Te Kura Māori o Ngā is also represented on a delicate koru Tapuwae. pattern that flows down the side of the Our premise was that we could use oboe like shape. Similarly, the often- symbology in kōwhaiwhai to represent overlooked triangle in the percussion the different sections of the orchestra section plays a starring role with one and create beautiful artworks enriched larger triangle housing several smaller with meaning to better showcase the ones in the percussion design. For Māori sections of the orchestra. This is no mean this symbol is known as niho taniwha and feat as there is huge range and diversity originates from the Waikato. “Waikato within sections. How can the lengthy taniwha-rau. He piko, he taniwha. He tubing on a French horn be compared to piko, he taniwha.” means many Rangatira the mighty bell of the tuba in our brass (chiefs) that come together and unite as section? And what ties together the one; just as so often the orchestra unite behind a percussive rhythm or pulse. This level of detail runs throughout all the kōwhaiwhai and is a tribute to the sharp minds of our young designers. It was a highlight of 2019 to see the sections reimagined in this way by the students at Ngā Tapuwae, who all deserve huge credit for doing a great job. A big thanks go to Olivia Chapman at Ngā Tapuwae for driving the project and to John Boscawen for his generous support to make the project viable. The kōwhaiwhai will be displayed hanging from the music stands of APO players on stand banners at APO 4 Kids, Community Classics and all our education concerts throughout 2020 and beyond. Ties and scarves – consider yourselves redundant!
STUDENTS FROM TE KURA MĀORI Full meanings and descriptions will be made O NGĀ TAPUWAE available on the APO website in due course. 25 © 2019. Deloitte Touche Tohmatsu Limited.
Think. Create. Do.
Theory is only good in theory. In the real world, action counts. Action backed by business acumen and knowledge. To help plot the way forward, get in touch. deloitte.co.nz apo.co.nz My Great Listen Dame Gillian Whitehead Acclaimed New Zealand composer Dame Gillian Whitehead has composed a new work specially for APO’s Beethoven 250 festival, inspired by the great composer. Here, she shares three pieces of music that have inspired her.
The New Zealand Herald Ludwig Premier Series Reflected #1 Perspectives 6pm, Mon 23 March 8pm, Thu 18 June Concert Chamber, Auckland Town Hall Auckland Town Hall Conductor Alpesh Chauhan Gillian Whitehead New work in Violin Akiko Suwanai response to Beethoven’s late string quartets Gillian Whitehead Resurgences Beethoven String Quartet in D Mendelssohn Violin Concerto Major Op.18 No.3 (mvts I & II) Sibelius Symphony No.2
apo.co.nz/beethoven250 apo.co.nz/perspectives PHOTO GRIEG MOZART MAHLER
GARETH WATKINS / LILBURN TRUST / WALLACE ARTS TRUST ARTS / WALLACE TRUST / LILBURN WATKINS © GARETH Holberg Suite, Op.40 Don Giovanni, Act I: Symphony No.3 Scene I My father was away during the Second Mahler stands in a category of his World War, and my mother and I lived The first scene of Mozart’s Don Giovanni own, emerging from the time of the in Elizabeth St off Dominion Rd, very is a wonderfully dramatic structure. It romantic symphony, foreshadowing the close to the old APO premises. In the begins conventionally enough. A quarrel expressionistic age to come. I learnt evenings, Mum would put me to bed; between the fleeing Don and Donna so much from studying this piece. I after looking after me all day, finally she Anna, the arrival of the Commendatore, learnt about the control of large-scale had time to play the piano. I still hear the sword fight. But the last two chords structure, about focusing now on the the music she played then in a different of that sword fight push us into the big picture, now concentrating on detail way, as something very special, unlike terrifying world of the opera – horror and in a chamber-sized instrumentation. anything else I came to know and compassion as the Commendatore dies, There’s the subtlety of the incorporation love, speaking to me before I could Donna Anna’s grief at discovering his of the sound world he lived in – natural understand words. There are a number body, grief which transforms into desire sounds alongside military calls, post of pieces, etched into my brain as she for revenge. By the end of the scene horns and bells. (Mozart does the same). practised (Bach, Beethoven, Schubert, we learn, purely through the music, the And above all the organic growth from Albeniz), but one piece I particularly complexities of Donna Anna, and Don the first notes, which enables the work loved and still love was Grieg’s Holberg Ottavio’s four-square character, his to sustain its great length and remain Suite, in the piano version. It’s still larger lack of imagination. Leporello, from the coherent, and explore the worlds of than life, a perfection, singing in my servant class and an outsider, expresses extreme joy and despair, of irony and mind. I’m sure that it was hearing these his fear of the situation as well as exaggeration, as no other composer can. pieces, night after night as I fell asleep, playing the buffoon to Don Giovanni, that led me to compose. (also adding useful vocal counterpoint throughout), and the Don has no music of his own but shape-shifts to mimic the music of other characters. Sheer genius. 27
IMAGE: ADRIAN MALLOCH
apo.co.nz
ME AND MY Horn with Nicola Baker
The horn has come a long way since learning at the Curtis Institute of Music in trumpets and the trombones who face its humble beginnings. A descendant Philadelphia. She lived in the US for five forwards and outwards; we face sideways of the ancient hunting horn, it was years until the role of Principal Horn at and back, which means that by the time originally introduced into the orchestra APO came up in 1992, and she has been our sound reaches the hall, it’s less direct. to add an element of the outdoors and with the orchestra since. And when it comes to the warm, lyrical chivalry associated with the instrument. “The horn has a reputation of being solo melodic lines, we get to do that a lot As the horn evolved, it became a a difficult instrument. I don’t think that more than the other brass instruments more permanent part of the orchestra, it helps me, or any horn player for that do.” gaining popularity during the late- matter, to think of it that way. You just This isn’t the only multi-tasking that Classical and early-Romantic periods. have to think of it as a medium with which horn players do. Due to the similarities “The horn as an instrument was you play the music,” says with the horn, they evolving and becoming more chromatic in Nicola, who plays an often also play ability. Certainly by the Romantic period, Engelbert Schmid horn. the Wagner tuba the time of Brahms and Schumann, horns At its most basic, (named after the were very much part of the orchestral the horn is a piece of .…when it came composer) when sound,” says Principal Horn Nicola Baker. brass tubing through down to choosing needed, something Nicola started out playing the piano which air is blown into Nicola and the other until high school, when her music teacher a mouthpiece and [between the APO horns will have needed someone to play the mellophone amplified out of the end, the opportunity to in the school orchestra. called the bell. It has four horn and piano], do at this year’s The “Within a month or two I was playing valves. Three enable the my mind was very Trusts Community in the school orchestra, within a year player to lengthen the Foundation Opera in or two I was playing in the Wellington tubing to create different much made up. Concert – Britten’s Youth Orchestra,” explains Nicola. “I pitches. A fourth thumb Peter Grimes. figured out pretty quickly that I enjoyed valve ‘shortens’ the “Wagner really the collaborative aspect of a big number instrument to change liked the sound of of people making music together. For a its pitch entirely. “I essentially have two the tuba but its tone is too heavy to play number of years I played both the horn and different horns in the same instrument the melody, so he conceived of a hybrid piano, but when it came down to choosing, that I switch between using the thumb instrument halfway between the horn and my mind was very much made up.” valve, something that the other brass tuba. Its resonant timbre can be heard After high school, Nicola studied a instruments don’t have.” in his musical drama The Ring of the Bachelor of Music in Performance at She describes the horn section as Nibelung,” Nicola explains. “The name Victoria University of Wellington while having a unique role in the orchestra, in includes the word ‘tuba’, but the timbre freelancing for orchestras in the city. that it crosses over the territory between and style of playing is similar to the horn Following her studies, she travelled the brass and woodwind instruments. so in modern orchestras the horn players to the United States to continue her “Our sound is less direct than the are tasked with playing this instrument.” 29 30 OFF STAG E Ready, set, throw to find out more about his other passion –Ultimate Frisbee. Ben Gemmell sitsdown withPrincipal Percussionist EricRenick team willscorepointsbypassingthedisc disc (frisbee).Inatypicalgame,each teamsportplayedwith aflying contact informally asultimatefrisbee.It’s anon- pad thai. Town Hall.He’s ordered theirvegan of metres upfrom theAuckland me forlunch atQCafe,just acouple a break from rehearsal andhe’s met to liedown!”laughsEric.He’s taking chase, man,I’lljustdoituntil Ihave something atmethatIhaveto “I’m likeadog.Ifyouthrow We’re chatting aboutultimate,known get over. hurdle to biggest is the Throwing throwing itthisway.” a ‘forehand’ ora‘flick’, whereyou’re that youprobablydomostoften,iscalled the biggesthurdletogetover. The throw You’ll learnhowtothrow. Throwing is “Not ifyoucanrunandcatch. to learnhowplay. Heshakeshishead. ask himifanyspecificskillsareneeded catching it. they mustreleaseitwithintensecondsof stepswhileholdingthediscand take end zone.Aswithnetball,playerscannot among theirteammatesintheopposing He’s smilingashethinksaboutit.I IMAGES: ADRIAN MALLOCH apo.co.nz
He raises his hand and makes a ‘The Legion’ have become more finger-gun gesture, where his index than just a team, says Eric. “We grew and middle finger are curved slightly. to become really great friends! We I can picture the frisbee nestled still organise events and we all go on underneath his thumb. “Since most vacations together. We have all gone people can do this throw, you’ll to the Coromandel. Everyone still typically take it away and make them comes, and it’s totally per chance that throw this way.” He now shows me a this Sunday we’re all having a Legion backhand throw. barbecue.” Eric explains that he has been His two worlds of music and sport playing ultimate ever since his rarely mix, and he likes it that way. “I college days in Miami as a training just enjoy my time there. I hang out with orchestra musician. He was less than people who have nothing to do with impressed when his colleagues first music. It’s really important to have friends invited him to watch a game. “I was who aren’t in the APO. They ask me silly like, ‘Ultimate? What is this, ‘extreme questions about the orchestra, and they frisbee’? – I was the guy who was show up!” He notes that most of his making fun of it!” He laughs. Foreign Legion teammates have seen him He frowns when I ask him about in concert at least once. his first time playing ultimate in this We’re finishing lunch and time is side of the world. “I had a really ticking before he has to head back to bad experience. I started going to New Zealand and they each had a the Green Room. I ask him about the some pickup games and it was a weird similarly miserable time when joining the future and where he’s going next with vibe. They were all of a sudden really ultimate scene here – so they started the sport. “I’m 40 now, so trying to be competitive, using all these plays and their own team. They adapted the game as fit as I have ever been would be really terminology and yelling at people.” to accommodate players across all cool. But to be honest, I take my music Foreign Legion, which may sound like levels. “We lowered the stall count, to very seriously so frisbee has to be a an organised group of expat superheroes, encourage getting rid of the disc earlier total release of pressure. I’m just here to is the name of Eric’s ultimate team. and thrown to more people. We make have fun.” Like Eric, their members all moved to sure that everyone gets a throw.” ADVERTORIAL Sir George Fistonich’s TOP WINE PICKS
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Villa Maria has supported APO since Throughout the 1960s Villa Maria VILLA MARIA SINGLE shortly after the orchestra’s inception in was a one-man band, with George’s VINEYARD IHUMATAO 1981, a relationship that spans almost wife, Gail, supporting him in his CHARDONNAY 2018 40 years. For Villa Maria founder and venture. He made dry red and white BEST ENJOYED WITH: owner Sir George Fistonich, partnering wines, sourcing grapes from the THE GREATS OF NEW with APO was a no-brainer. greater Auckland regions. In the early ZEALAND MUSIC “Both Villa Maria and APO share 1970s, he started to employ staff and Awarded the Best Wine a passion for what we do. Through the company expanded rapidly. from Auckland at the our respective crafts we strive to bring Today, Villa Maria employs more New Zealand Wine of the people joy. Our partnership is an ideal than 250 permanent staff, grows Year competition 2019, marriage,” says Fistonich. 28 different grape varieties, and this is a fitting choice this Villa Maria was founded in 1961 exports wine to over 60 countries summer for supporters of when Fistonich, just 21-years-old at worldwide. the Auckland Philharmonia the time, leased five acres of land A lifelong lover of classical music, Orchestra! A beautiful from his father in Mangere, Auckland Fistonich believes that music and melody of white peach, and started off with just an acre of wine are a perfect pairing. He shares grapefruit and roasted nuts on the nose unfold vines. He made his first wine under the his favourite wines for summer and with flavours of subtle flint name Villa Maria in 1962 with grapes the ideal music to accompany each and toasted oak. harvested from this block. selection. apo.co.nz CRESCENDO NEWS
EXCLUSIVE ORCHESTRA Crescendo Calendar of Events to EXPERIENCES JULY 2020
The Crescendo membership programme 20 FEBRUARY provides exciting and exclusive events that Meet the Artist: enhance the concert-going experience. Stefan Dohr, Berlin A ‘fly-on-the-wall’ experience of Philharmonic Principal Horn APO rehearsals is just one of the many Concert: The New Zealand Herald opportunities members enjoy. They Premier Series: Bach & Brahms are also invited to a series of Meet the Artist events following performances at 15 APRIL Open Rehearsal: the Town Hall. This year these informal A BEHIND THE SCENES EXPERIENCE Great Classics: Rejoice & Requiem interactive Q&A sessions will feature WITH INGRID BAUER, JUST ONE OF THE MANY EXPERIENCES MEMBERS ENJOY. Auckland Town Hall visiting guest artists and conductors, including horn player Stefan Dohr of the 16 JUNE Berlin Philharmonic. Here’s what Richard Galloway has to say Behind the Scenes: Crescendo gives you the chance about Crescendo after being a member Ingrid Hagan, to engage with and get a look at the for four years: APO Principal Bassoon workings of the orchestra. A Crescendo A presentation of the bassoon membership can be purchased with your “As a classical music novice, I have subscription or at any time during the found Crescendo very helpful in learning For more information or to join, please year. Choose Crescendo Gold to enjoy a more about the orchestra. I particularly contact Annual Giving Programmes special level of hospitality at main stage enjoy watching rehearsals and meeting Executive Charlotte Crocker: concerts, including wine and canapés members of the orchestra. Crescendo during the concert interval. Memberships has also introduced me to other concert [email protected] start from $100 per year. goers and the wonderful APO staff.” 09 638 6266 ext. 234
Wind. Water. Sun. It’s what we’re made of.
We’re proud to generate electricity from 100% renewable sources. And we’re excited to support the Auckland Philharmonia Orchestra’s Blue Planet II concert. Join Meridian and support renewable energy. Visit meridian.co.nz or call 0800 496 496. DG0638 FOUNDATION NEWS
HELPING TO SUPPORT THE ARTISTIC DEVELOPMENT OF THE APO IS A CORE AIM FOR THE AUCKLAND PHILHARMONIA FOUNDATION.
Every year the Foundation provides The 21st Century Circle members are a scholarship opportunity and the special supporters who have indicated deserving recipient in 2019 was Ewa their intention to leave a gift in their will Sadag, second violin, who has been with to the foundation. These gifts are then the APO for 25 years. wisely invested to ensure the growth and In May, Ewa studied in Switzerland future of the orchestra. with acclaimed violinist Monika Lisik The 2020 recipient of the Urbaniak, an experience she describes Foundation scholarship is APO’s Sub as “truly refreshing and inspirational”. Principal Horn, Carl Wells, who will EWA SADAG Ewa was able to develop her skills be attending an international horn and to bring back that specialised symposium in Oregon and receive knowledge to the orchestra to inspire specialist low horn lessons. If you would like to find out more about and motivate her colleagues. Ewa Read more about Carl’s scholarship the 21st Century Circle, please contact then performed and shared her on page 4. Development Manager Adele Diviney: st experiences with members of the 21 [email protected] Century Circle at a boutique concert in September last year. 09 638 6266 ext 247
CHAIR DONOR SPOTLIGHT
AUDREY HAY SUPPORTS THE CHAIR OF FIRST VIOLIN PLAYER YURI CHO.
Tell us a little bit about your musical What inspired you to become a background and your relationship chair donor? with the APO. I have always felt connected to the APO I have been involved in music ever since because it grew out of the String Players I started learning the violin at the age of and the Bohemian Orchestra before that. nine and played in school orchestras, I know that all regional orchestras in New Junior Symphony with Charles Nalden, Zealand need money to keep going. The Auckland String Players with Georg APO players work hard all year giving Tintner, and Bach Cantata Orchestra superb performances every time to thrill with Ron Dellow. My mother, who their Auckland audiences—they deserve played the piano and violin and was any support we can give. in the Auckland Bohemian Orchestra from 1918-1939, was a very good accompanist, which was a great help. I If someone is thinking of becoming was also interested in singing and had a chair donor, what advice would you AUDREY HAY (RIGHT) WITH HER SISTER BEVERLY GENTLES 12 years in the Dorian Choir, including give them? two very successful tours to UK and Europe. Then followed eight years in the Being a chair donor is fun; getting to Orlando Singers, a small chamber choir. know the players in the orchestra and For more information about becoming I now enjoy playing chamber music with your chair, going to small functions and a Chair Donor, please contact Director friends two or three times a week. hearing them play, talking about their of Development Susan Wall: instrument or some special study trip [email protected] they went on, or meeting the following week’s soloist. It is like being part of a big 09 638 6266 ext. 233 musical family.
34 apo.co.nz FRIENDS NEWS
2020 PROMISES TO BE AN EXCITING YEAR FOR THE FRIENDS. THERE ARE SEVERAL FUNDRAISING EVENTS PLANNED THROUGHOUT THE YEAR AS WELL AS OUR REGULAR MEET THE ARTIST EVENTS.
We work closely with APO Connecting Our bus conveners provide a very good fostering young talent in our city as service beginning from four points around well as assisting the orchestra with the city to the Town Hall. You can get promotional material to advertise concerts more information from the information for In Your Neighbourhood and North table on concert nights or at apo.co.nz/ Shore concerts. concert-bus As a Silver Sponsor of the APO, Our Meet the Artist events are the Friends will continue to raise funds hugely interesting and entertaining, MEMBERS OF THE FRIENDS to enable us to donate $20,000 per regularly hosting international soloists IMAGE: ADRIAN MALLOCH year which includes our chair donor and conductors who give us an insight into their professional lives. In 2019 we contribution. Your $35 subscription goes Further information: a long way to achieving this goal. hosted artists like organist Ben Sheen, The Friends support the orchestra conductor David Kay and pianist Javier Jackie Wilkinson, President on concert nights by selling programs, Perianes. We consider ourselves very [email protected] providing information and supplying fortunate that these busy people make Bryce Bartley, Membership Secretary supper for the orchestra, soloists time for the Friends. 2020 will be no [email protected] and conductor. The supper is famous different and we are pleased to have an 2020 DATES: worldwide as we are the only organisation exciting line-up of guests. 14 February, 6 March, 3 April, that does it! Won’t you come and join us? It’s the 8 May, 26 June Buses to concerts are very popular. best Friday morning gig in town! Auckland Philharmonia Orchestra gratefully acknowledges the contributions made by the following companies, trusts and organisations. These funds support the orchestra’s current operations and education programme.
CORE FUNDERS
PLATINUM
Sir William & Lady Manchester Charitable Trust
GOLD
The Douglas Chisholm Whitney Family Goodfellow Charitable
THANK YOU Charitable Trust Trust
Rua & Clarrie Stevens Charitable Trust
SILVER
Deirdre & Tony Anselmi Australian Communities Family Trust Foundation – Sylvia Fisher Fund
The Lou and Iris Fisher Lesley French Estate Charitable Trust
Maurice Paykel Charitable Trust
BRONZE
Adrian Malloch Photography Marshall Day Acoustics Orongo Bay Homestead APRA AMCOS NZ Ministry of Education Scarecrow – deli, café & florist The Hamana Charitable Trust Mt Wellington Foundation St John James Russell Lewis Trust Naxos Music Group 2will Physiotherapy & Pilates Studio Karajoz Coffee NZCT
36 apo.co.nz
FEB – JUL 2020
DATE CONCERT/ACTIVITY TIME LOCATION
Thu 13 Feb Great Classics: Colours of Russia 7.30pm Auckland Town Hall
Thu 20 Feb The New Zealand Herald Premier Series: Bach & Brahms 8pm Auckland Town Hall
Sun 23 Feb In Your Neighbourhood: Island Time 3.30pm Morra Hall, Waiheke
Thu 5 Mar The New Zealand Herald Premier Series: Cityscapes 8pm Auckland Town Hall
Sun 15 Mar Beethoven 250: Beethoven’s Big Birthday Bash 2.30pm Auckland Town Hall
Sat 21 Mar Beethoven 250: The Classicist 7.30pm Auckland Town Hall
Mon 23 Mar Beethoven 250: Ludwig Reflected #1 6pm Concert Chamber
Tue 24 Mar Beethoven 250: The Romantic 7.30pm Auckland Town Hall
Wed 25 Mar Beethoven 250: Ludwig Reflected #2 6pm Concert Chamber
Thu 26 Mar Beethoven 250: The Revolutionary 7.30pm Auckland Town Hall
Fri 27 Mar Beethoven 250: Ludwig Reflected #3 6pm Concert Chamber
Sun 29 Mar Beethoven 250: The Radical 5pm Auckland Town Hall
Mon 6 Apr In Your Neighbourhood: Folk Songs 6.30pm St Helier’s Church & Community Centre CONCERTS Tue 7 Apr In Your Neighbourhood: Folk Songs 6.30pm Titirangi War Memorial Hall
Thu 16 Apr Great Classics: Rejoice & Requiem 7.30pm Auckland Town Hall
Thu 23 Apr The New Zealand Herald Premier Series: Transformations 8pm Auckland Town Hall
Fri 1 May Up Close: Vivaldi 6pm St Luke’s Church, Remuera
Sat 9 May APO Community Classics Central: Water 3pm Auckland Town Hall
Thu 14 May The New Zealand Herald Premier Series: Fire & Fantasy 8pm Auckland Town Hall
Tue 19 May Metlifecare Unwrap the Music: Rossini’s William Tell 6.30pm Auckland Town Hall
Sat 23 May APO Connecting: APO 4 Kids – Moe’s Guide 10am & Auckland Town Hall 11.30am
Sat 30 May APO Connecting: APO 4 Kids – Moe’s Guide 10am & Bruce Mason Centre, 11.30am Takapuna
Thu 18 Jun The New Zealand Herald Premier Series: Perspectives 8pm Auckland Town Hall
Thu 25 Jun The New Zealand Herald Premier Series: Mahler 6 8pm Auckland Town Hall
Tue 30 Jun Metlifecare Unwrap the Music: 6.30pm Auckland Town Hall Britten’s Four Sea Interludes
Thu 9 Jul The New Zealand Herald Premier Series: Houstoun Plays 8pm Auckland Town Hall Rachmaninov
Fri 10 Jul Up Close: Concerti 6pm St Mary’s Church, Parnell
Sun 19 Jul Great Classics: The Creation 5pm Auckland Town Hall
Wed 22 Jul Together with APO: Blue Planet II Live 7.30pm Aotea Centre
Sat 25 Jul Family Concerts: Room on the Broom & Stick Man 11.30am & 2pm Aotea Centre
Thu 30 Jul The New Zealand Herald Premier Series: Legends 8pm Auckland Town Hall
37 Auckland Philharmonia Orchestra PO Box 7083 Victoria St Auckland 1142 Phone (09) 638 6266 APO Ticketing (09) 623 1052 [email protected] apo.co.nz aporchestra @aporchestra aporchestra apo_nz (WeChat)