1 Chamber Music New Zealand Tour Partner

JENNIFER

STUMMwithTe Kōkī Trio

Tēnā koutou Sometimes the stars align so that we can invite some of the world’s best musicians to New Zealand following or preceding performances elsewhere in the Southern Hemisphere. This is just such the case with Jennifer Stumm, who comes to us straight from Townsville and her performances in the Australian Festival of Chamber Music (AFCM). I was delighted/ thrilled when a conversation held back in 2017 with pianist Kathryn Stott (following her own CMNZ tour with the NZSQ) around her upcoming role as Artistic Director of the AFCM resulted this year in our “sharing” international viola virtuoso, Jennifer Stumm. Jennifer has called the viola an ‘imperfect instrument’ and it is the notion of those very imperfections that brings the special beauty to this alto voice of the string family. I recommend that you take a few moments to watch Jennifer’s both enlightening and entertaining TEDX Talk on YouTube. Jennifer has crafted a very special programme full of secrets and hidden messages, variety and colour. With works for solo viola, viola and piano duo and piano trio, to the finale of the programme the Brahms Piano Quartet No.3 nicknamed “Werther” after Goethe’s “The Sorrows of Young Werther”. Te Kōkī Trio all teach and perform at the New Zealand School of Music, Victoria University of Wellington. In addition to performing with Jennifer, these wonderful musicians are featured in a new commission by Michael Williams, generously supported by the Lyons Family in memory of well-known Wellington based luthier Ian Lyons, who died suddenly in 2015. I’d like to acknowledge The Lion Foundation whose generous ongoing support has assisted with this tour.

Catherine Gibson Chief Executive Chamber Music New Zealand “There is an opal-like beauty in the viola playing of Jennifer Stumm”

– Washington Post

Please kindly remember to switch off all cellphones, pagers and watches. Taking photographs, or sound or video recordings during the concert is prohibited unless with the prior approval of Chamber Music New Zealand. Thank you. Secrets & Hidden Messages Wellington, Invercargill, Christchurch, Dunedin, Nelson, Auckland

Michael Williams Spirit Flies Sun Rises (CMNZ commission) 11

György Kurtág 12 Three pieces for Viola Solo from Jelek, játékok és üzenetek (or ‘Signs, Games and Messages’)

Robert Schumann 13 Märchenbilder (or Fairytale Pictures)

Johannes Brahms 14 Scherzo in C minor from F.A.E Sonata

Interval

Johannes Brahms Piano Quartet No 3 in C Minor Op. 60 (“Werther”) 15

DURATION: 100 minutes including an interval The Artists reserve the right to make changes to the programme.

The Auckland concert is being recorded for broadcast by RNZ Concert. 6 Chamber Music New Zealand

Jennifer Stumm viola

Violist and director Jennifer Stumm display of virtuoso viola playing” (The has blazed a courageous creative New Recordings.) She released her path, her diverse projects mixing album of Berlioz’s Harold In Italy in a searching intellectual curiosity, 2014 and performed the work in her irrepressible musical enthusiasm unique staging and characterization and committed advocacy for social almost fifty times. A recipient of the opportunity. Known for the seductive prestigious BBC New Generation power and “opal-like beauty” artist and Borletti Buitoni Trust awards (Washington Post) of her sound, for her work in chamber music, she Jennifer appears on the world’s appears at major festivals such as great stages like Carnegie Hall, the Verbier, Marlboro, Stavanger, Spoleto, Kennedy Center, the Concertgebouw Aldeburgh, Delft and IMS Prussia Cove , Sala São Paulo, and and regularly appears with Spectrum the Wigmore Hall, . Her Concerts . Her collaborative solo career was launched after partners have included members of victories in three major international the , Guarneri, Vermeer competitions: William Primrose, and Alban Berg Quartets and the , and Concert Artists Guild period ensemble L’Archibudelli. (where she was the first violist ever to win First Prize) and she swiftly earned Jennifer is founder and director a reputation as one of the world’s of Ilumina, the São Paulo-based outspoken voices for the expressive chamber music collective, festival and possibilities of her instrument. social initiative, which has ascended rapidly to prominence as a modern Her viral TEDx talk about the viola model for 21st century creativity and and the blessings of being different, efficient artist-led advancement of “The Imperfect Instrument,” was diverse talent. Ilumina unites leading named an editor’s pick of all TED talks international soloists with the best and led to a solo debut at the Berlin rising talent from Latin America, Philharmonie. Jennifer has released working and performing side-by-side two celebrated solo albums. Her in São Paulo at the Ilumina festival and debut recording for Naxos’ Laureate on tour around the world. Jennifer’s Series featured works by Italian flair for curation and stage direction composer/violist Alessandro Rolla, has received much attention, and hailed as “an absolutely phenomenal Jennifer Stumm with Te Kōkī Trio 7

Ilumina concerts invite listeners to developing nations, both in person be immersed in dynamic musical and online. In the first four years of worlds, steadfastly committed to her Ilumina project, nearly 50 young interpretation, powered by the artists have been accepted to study freshness and energy of cultural at major international institutions, a exchange. powerful reminder that talent never decides where it is born. The coming season brings her debut at the Barbican, London, turns as Born in , Jennifer first heard concerto soloist in halls from São the viola when she was eight and, Paulo to Bangkok, the complete enchanted by its sound, began chamber works of Brahms in Milan, playing in her school’s orchestra. and a season-long celebration of She studied with at female composers honoring the the Curtis Institute of Music and the centenary of the Rebecca Clarke , with Sonata. She will curate and direct a in Amsterdam and also pursued new show of staged chamber music interests in politics at the University of for Ilumina, following on the success Pennsylvania. of “Final Frontier’ in 2017. Jennifer plays a Gasparo da Salò viola, Jennifer Stumm is Professor of Viola c 1590, generously on permanent loan at the Music and Arts University from a private collection. of the City of Vienna, International Chair of Viola Studies at the Royal College of Music, London and gives masterclasses around the world. Since her school days teaching strings in the Atlanta inner city, Jennifer has been a committed to a vision for classical music that inspires social impact. She devotes considerable time to supporting young musicians from Te Kōkī Trio Martin Riseley violin / Inbal Megiddo cello / Jian Liu piano Jennifer Stumm with Te Kōkī Trio 9

Inbal Megiddo cello

Cellist Inbal Megiddo has given many Ukraine Philharmonic, the Lithuanian concerts in Europe, Asia and America Philharmonic Orchestra, collaborating including recitals in the Kennedy with conductors and performers Center, Carnegie Hall, with the Berlin including Daniel Barenboim, Shlomo Symphony at the Philharmonie and a Mintz, and Lior Shambadal, and tours recital at the Staatsoper. At her New in Germany, Austria, North America, York debut at the Lincoln Center and Asia. her playing was hailed by the press as having “magical expression and Ms. Megiddo is Senior Lecturer in technical expertise.” Recent releases Cello at the New Zealand School of include a recording of the complete Music, Visiting Professor of Cello at Bach Cello Suites, Debussy’s Sonatas Oberlin Conservatory, and Resource and Piano Trio, and the Beethoven Panelist for the Singapore School of Sonatas and Variations. She gave the Arts. She has been guest artist the New Zealand premieres of the at the International Cello Congress Weinberg, Villa Lobos, and Barber in Israel, Dublin Masterclasses, Cello Concertos, with her playing Beijing Chamber Music Festival, and described as “Superb!...Virtuosic, Melbourne Cello Festival, has given brilliant and powerful”. Other recent masterclasses at institutions around and upcoming engagements include the world, and is founder and director performances with the National of the Cellophonia International Symphony Orchestra of Ireland, the Festival in Wellington. 10 Chamber Music New Zealand

Martin Riseley Jian Liu violin piano

New Zealand violinist Martin Riseley Internationally celebrated concert studied at Juilliard with Dorothy DeLay, pianist, chamber musician, and where he completed Master of Music educator, Dr. Jian Liu, has performed and Doctor of Musical Arts Degrees. He and taught throughout Europe, Asia, subsequently became Concertmaster and North America. His artistry has of the Edmonton Symphony Orchestra been taking him to some of the most for fifteen years, where he performed prestigious concert halls, including and premiered a number of concertos. Carnegie Hall, Lincoln Center, and He has played chamber music with Steinway Hall in New York, and as some of the leading musicians of our a featured soloist with orchestras time, including Pinchas Zukerman, including Symphony Orchestra of Yo-Yo Ma and John Kimura Parker, National Philharmonic Society of and has held other concertmaster Ukraine, Phoenix Symphony Orchestra, positions, including Interim Associate Auckland Philharmonia Orchestra, Concertmaster of the National Arts Orchestra Wellington, Christchurch Center Orchestra, under music director Symphony Orchestra, and Yale Pinchas Zukerman. Philharmonia, among others. Since returning to New Zealand to be As a dedicated and enthusiastic Head of Strings at the New Zealand chamber musician, Jian is the founding School of Music he has made the first pianist of Te Kōkī Trio. The Trio has recordings of some important chamber appeared on various chamber series works of Douglas Lilburn and recorded in Singapore, China, Australia and New ‘Meditations on Michelangelo’ by Jack Zealand. Jian have served for four years Body with the NZSO, as violin soloist. on the faculty of the Yale Department That year he was also appointed of Music, and he is currently the Concertmaster of the Christchurch Programme Director of Classical Symphony Orchestra and was named Performance and Head of Piano Studies patron of The Piano, a music facility at New Zealand School of Music at built in the heart of Christchurch’s Arts Victoria University of Wellington. Jian Precinct. studied with Dr. Caio Pagano at Arizona State University and holds Doctor of Musical Arts degree from Yale School of Music, where he was a student and assistant of Professor Claude Frank. Jennifer Stumm with Te Kōkī Trio 11

Michael Williams (1962–) Spirit Flies Sun Rises

“I began this piece in the middle of The ashes resemble a bird in flight or 2018, but with one thing and another, perhaps a leaping deer. I imagined my had to put it down for a few months brother Brendan’s spirit finding such and planned to recommence work on freedom. it later in the year and finish it over the summer. In this piece, I have tried to capture the idea of a spirit leaving the earth to In November, as I was about to settle become part of the great all, while for into the composition, my younger those of us remaining, the world still brother Brendan died suddenly. turns and the sun still rises.

This devastating and life changing I would like to express my heartfelt event gave me cause to re-evaluate thanks to the Lyons family and the Te the work and what I wanted to Kōkī Trio for giving me the opportunity express in it. I had a clear image in to compose this piece. The process mind throughout the composition and of composition was an enormously it was of a photograph taken when cathartic and unforgettable my uncle’s ashes were spread while experience.” - Michael Williams on a trip to Raglan. The scene was Duration: Approx 10 minutes incredible. It was not a particularly windy day, but when the cap was taken off the urn, it was almost as if he leapt out of its confines and blew out to sea in an enormous hurry. The photograph captures this visceral moment perfectly.

Commissioned by the Chamber Music New Zealand Trust to be performed by Te Kōkī Trio. In memory of Ian Lyons, this commission is generously supported by the Lyons Family. 12 Chamber Music New Zealand

György Kurtág (1926–) Three pieces for Viola Solo from Jelek, játékok és üzenetek (or ‘Signs, Games and Messages’) In Volkston Flapping Slapping Panaszos Nota Carenza Jig One of the most highly regarded (Games) for piano and settings of texts composers of the past half-century, by Hölderlin and Samuel Beckett. György Kurtág was born in 1926 in Lugos, Transylvania (present-day In 2013 György Kurtág was honoured Romania). Kurtág studied in Paris with with the Royal Philharmonic Society Olivier Messiaen and Darius Milhaud Gold Medal in London and in 2015 in the late 1950s and experienced a he received the BBVA Foundation period of crisis in that city (“it [was] “Frontiers of Knowledge Award”. impossible for me to compose...I sank Jelek, játékok és üzenetek (or ‘Signs, to terrible depths of despair”), from Games and Messages’) is a sequence which he emerged with the help of of 24 fragmentary individual and psychologist Marianne Stein. isolated miniatures for solo viola, Only at the age of 33 did Kurtág composed and revised between the feel sufficiently satisfied with his mid-1960s and now. The movements compositions to begin giving them range in span from three or four opus numbers; his string quartet minutes to handfuls of seconds. Each Opus 1 is a work that bears traces piece is beautifully crafted and is some of Bartók and Webern, influences the most intense music written in the which continue to mark his music. It past few decades. has been described as possessing an Some are little more than a few “undistracted intelligence,” a quality seconds long, others stretch to common to all Kurtág’s music, along several minutes; sometimes baffling with an economy of means and successions of prickly pizzicato and rigorous attention. “One can make cartoonish, sweeping glissandi, music out of almost nothing,” Kurtág demented see-saw bowing and has said. mouse-like scurryings. Many are Kurtág taught for many years at musical aphorisms, prompts for the Ferenc Liszt Academy of Music, reflection, and quite a few are Budapest, first as a professor of evocations of friends and influential piano (his pupils included András teachers, very personal miniature Schiff and Zoltán Kocsis) and then memories, or private (and rather of chamber music. Meanwhile he intellectual) jokes. pursued his rigorous compositional Duration: Approx 5 minutes path, producing works such as Játékok Jennifer Stumm with Te Kōkī Trio 13

Robert Schumann (1810–1856) Märchenbilder (or Fairytale Pictures)

Buoyed by the successful premiere of both the viola and piano parts are so the ‘Rhenish’ Symphony in February technically challenging these works are 1851, Schumann composed four hardly “childish pranks”! chamber-music miniatures early the following month: the Märchenbilder, These four poetic miniatures explore Op 113 for piano with either viola (the different combinations of colours composer’s first choice) or violin. The through subtle interplay between inspiration for these four ‘Fairy-tale the two instruments, seeming to Pictures’ was the virtuoso violinist conjure the twin fictional personas of Wilhelm Joseph von Wasielewski, who Schumann’s youth - the wistful musings Schumann had recruited from Leipzig of the dreamer Eusebius, expressed as leader of the Düsseldorf orchestra in delicate interaction between the during Schumann’s brief and relatively two instruments, are countered by the unhappy tenure as conductor there. impulsive Florestan in the rhythmically unrelenting second movement. The Wasielewski, who later became one two personas appear successively in of Schumann’s first biographers, the third movement, whose brilliant describes the first performance of outer sections enfold a romantic the works: “After Schumann had interlude. But Eusebius has the last written his Märchenbilder, which to word in the finale, a lullaby marked my great pleasure, he dedicated to Langsam, mit melancholischem me, he had his wife play them through Ausdruck, its sonorous texture perfect while I took the viola accompaniment. for the dusky tones of the viola. He then said with a smile: “Childish pranks! There’s not much to them,” Whatever their specific fairy-tale By this he merely meant to imply background, the Märchenbilder that the pieces belong to the genre draw the listener into a glittering of Kleinkunst [literally, small art]. He world of fantasy and childlike made no objection when I called them imagination. Written during first signs delightful.” of his deteriorating mental health (Schumann attempted suicide in Shown through the informal and 1854, three years after he wrote the domestic setting for the premier Märchenbilder, and was subsequently performance, Märchenbilder belongs admitted into an asylum). It is to the genre of Hausmusik, a type tempting to hear a desperate sense of chamber music, usually not too of escapism in these unassuming demanding, originally intended to portraits, and not simply a “delightful” be performed by amateurs in homes response to a fascination in fairy-tales rather than concert halls. However and folklore of the Romantic era. Duration: Approx 16 minutes 14 Chamber Music New Zealand

Johannes Brahms (1833–1897) Scherzo in C Minor from F.A.E. Sonata

On October 23, 1853, Schumann’s offered to supply the scherzo. They famous article “New Paths” appeared dubbed the project the “F.A.E.” Sonata, in the widely read journal that he after the phrase that Joachim had taken edited, Neue Zeitschrift für Musik as his motto: ‘Frei aber einsam’ (free (“New Journal for Music”). “I thought but alone). The music was finished that sooner or later,” he wrote, quickly, assembled into a performing “someone would and must appear, edition, and inscribed with a reversed- destined to give ideal expression to initial dedication: “In Expectation the spirit of the times.... And he has (Erwartung) of the Arrival (Ankunft) come, a young blood at whose cradle of an honoured and beloved Friend Graces and Heroes kept watch. His (Freund).” Joachim was delighted name is Johannes Brahms.” with the gift, played the entire Sonata through immediately with Clara at the The month before, on the last day keyboard, and correctly announced of September 1853, Brahms met the each movement’s composer without Schumanns for the first time through a moment of hesitation! the violinist Joseph Joachim. “Here is one of those who comes as if sent The Scherzo is Brahms’ earliest straight from God,” Clara recorded surviving piece for violin and piano, in her diary. Brahms was introduced though he had already composed around town, and among those he at least one full sonata for that met was the young composer and instrumental combination that either conductor Albert Dietrich, a favourite he or Schumann lost on its way to student of Schumann. Joachim was the publisher. The piece follows scheduled for an appearance in the traditional three-part scherzo Düsseldorf at the end of October form, with a rather stormy C minor to give the premiere of Schumann’s paragraph at the beginning and end Fantasy for Violin and Orchestra, Op surrounding a more lyrical central trio. 131 as part of the Music Festival of Though written when Brahms was the Lower Rhine, with the composer still very young, the music bears his conducting. As a surprise for the characteristic qualities: rich harmonic violinist, Schumann, Dietrich and vocabulary, rhythmic vitality, a sure Brahms agreed to collaborate on sense of thematic growth and full a sonata for violin and piano, and textures. Brahms’ Scherzo was not only then challenge Joachim to guess the a charming memento of an important respective authors of each movement. friendship but was also further proof to Dietrich was assigned the opening Schumann that he had met a genius. movement, Schumann volunteered an intermezzo and finale, and Brahms Duration: Approx 5 minutes Jennifer Stumm with Te Kōkī Trio 15

Johannes Brahms (1833–1897) Piano Quartet No. 3 in C Minor, Op. 60 (“Werther”)

If you were growing up a few centuries phrase “speaks the name Clara and that ago in Germany you would have the theme’s continuation is a version of understood the significance of a man the “Clara motive” that Schumann used in a long blue coat and yellow vest, in his music for her.” long flowing hair, a figurative heart on sleeve. The authorities in Leipzig most The Scherzo, in C minor, is full of definitely did, banning this combination rhythmic dynamism. The tense, of garb in 1775 to try and combat what muttering figure of the opening was known as “Werther-Fever” – when dominates the proceedings (the Goethe’s popular Sturm und Drang opening of the Scherzo is an octave novel “The Sorrows of Young Werther” followed by the sigh figure inverted inspired a series of copycat suicides. (going upwards)). A plaintive, chant-like Werther, in his blue coat, shoots himself, second theme interrupts the powerful overcome with anguish over a married rhythmic drive, building to an abrupt woman whose husband he admires, ending full of intense defiance. and captured the imaginations of many In the gorgeous Andante there is a a victim of unrequited love. beautiful, almost sensual interplay Brahms therefore knew exactly what between the string voices, creating message he would convey when he that wistful warmth which represents spoke to the publisher of his Piano the best of Brahms’ expressive writing. Quartet No 3 in C minor. “Imagine Deeply felt, this movement is thought by a man who is just going to shoot some biographers to be a declaration himself, for there is nothing else to of love for Clara. The movement do.” Speaking about the result to his gradually liquidates itself with a sense of publisher Simrock, Brahms used the exhaustion, and the abrupt final cadence image of a man contemplating suicide, (Werther pulling the trigger?) indicates saying: “On the cover you must have a that the mood of unsatisfied fatalism has picture, namely a head with a pistol to it. triumphed. This abruptness offers the Now you can form some conception of listener no comfort after the preceding the music! I’ll send you my photograph trauma; there is no peaceful resolution, for the purpose. Since you seem to like but the triumph of desolation – as befits colour printing, you can use blue coat, the suicidal subject-matter so frequently yellow breeches, and top-boots.” mentioned by Brahms. It seems that Friedrich Nietzsche was accurate when The first movement’s opening pulls us he described Brahms as “the musician of into a whirlpool of romantic suffering. the unsatisfied”. The strings sigh out a two-note phrase that seems to speak the name “Clara” - Malcolm MacDonald suggests that the Duration: Approx 32 minutes Thank You To all of our generous donors who support CMNZ throughout the year

Founders' Circle Members Roger and Jenny Mountfort Anonymous Barbara Peddie Graeme Edwards Roger Reynolds Arnold and Reka Solomons Martin and Catherine Spencer The Estate of Jenni Caldwell Basil & Jenny Stanton The Estate of Aileen Claridge Alison Thomson The Estate of Walter Freitag Ann Trotter The Estate of Chisne Gunn Judith Trotter The Estate of Warwick Gordon Harris Anna Wilson The Estate of Joan Kerr Bruce Wilson and Jill White The Estate of Monica Taylor Ann Wylie David Zwartz Ensemble ($10,000+) Anonymous Trio ($500+) Robin & Sue Harvey Anonymous (6) Kaye & Maurice Clark Diane Baguley Gill and Peter Davenport Philippa Bates Peter and Carolyn Diessl Harry and Anne Bonning Professor Jack Richards Sarah Buist JD Cullington Octet ($5,000+) Jonathan Cweorth M Hirschfeld Children's Trust Hanno Fairburn Hylton LeGrice and Angela Lindsay Tom and Kay Farrar The Lyons Family - in memory of Ian Lyons John Farrell Murray Shaw Anne French Consulting Ltd Kerrin and Noel Vautier Belinda Galbraith Lloyd Williams and Cally McWha C & P Gibson Laurie Greig Quintet ($2,500+) Gary and Helena Hawke Joy Clark Douglas and Barbara Holborow John and Trish Gribben E Prof Les Holborow Ann Harden Michael Houstoun and Mike Nicolaidi Jane Kominik Caroline List Collin Post Fiona Macmillan and Briony Macmillan Arnold and Reka Solomons Margaret Malaghan Peter and Kathryn Walls Raymond and Helen Matias AE McAloon Quartet ($1,000+) Fiona McAlpine Anonymous (2) Andrew and Mary McEwen Donald and Susan Best Heather Miller Roger and Joanna Booth Margaret Nielsen Philip and Rosalind Burdon Prue Olde MD and MA Carr Robert and Helen Philpott Rick and Lorraine Christie Miles Rogers Roger Christmas Sylvia Rosevear The Cranfylde Charitable Trust Peter and Juliet Rowe Graeme and Di Edwards John and Kathryn Sinclair Peter and Rae Fehl Ross Steele Finchley Trust Mary Smit Dame Jennifer Gibbs Priscilla Tobin Patricia Gillion David Tripp David and Heather Hutton Patricia Unger Linda MacFarlane Richard and Elaine Westlake Elizabeth McLeay Tim Wilkinson Board Kerrin Vautier CMG (Chair), Hon Chris Finlayson, Quentin Hay, Andreas Heuser, Matthew Savage, Vanessa Doig REGIONAL CONCERTS

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