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Annual Report 2019

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Annual Report 2019 Annual Report 2019 Contents From the Trust Chair 1 The Chief Executive’s Overview 3 CMNZ Constitution and Governance 8 CMNZ Mission, Vision and Values 9 2019 Statistics 10 CMNZ in 2019 (activity and response) 11 CMNZ in the Community 19 Partnerships and Philanthropy 21 Financial Statements 23 Thank you 28 1 Chamber Music New Zealand From the Trust Chair NEW CHIEF EXECUTIVE CONTRIBUTION TO NEW ZEALAND’S On 1 February, we welcomed Catherine Gibson ARTS SECTOR to her new role as Chief Executive of Chamber Indeed, making a significant artistic contribution Music New Zealand (CMNZ). As an experienced for regional and national audiences is at the musician herself, and someone who is steeped heart of our 70-year old organisation. With in the chamber music genre, Catherine has CNZ’s renewed commitment to anchor CMNZ’s overseen the successful 2019 season and the medium-term funding, we will continue to ensure launch of the 2020 season. As well as refreshing that chamber music, in all its diverse forms, the Strategic Plan at the beginning of her tenure remains a key contributor to New Zealand’s arts and building stakeholder relationships and artistic sector. We will succeed in this by maintaining collaborations during the year, she secured CMNZ’s reputation as the professional presenter funding in support of employing a Development of high-quality, stimulating and memorable Manager and delivered a creditable financial music-up-close experiences, involving both New outcome for the year. As a multi-year priority, Zealand and international artists and composers. Catherine is maintaining a strong focus on growing revenue through both concerts and We continue to be supported hugely by our external funding. subscribers. At the same time we recognize the continuing pressures on the subscription model CREATIVE NEW ZEALAND as audiences selectively put together their own A milestone in 2019 was CMNZ’s success in concert portfolios from the diverse array of choices remaining within Creative New Zealand’s Toi available to them in the “classical” music space. Tōtara Haemata Investment Programme with its Hand in hand with efforts to retain our long- confirmation of funding for the six-year period standing and valued subscribers we also seek to 2020-2025. Preparing the successful application was enlarge our audience base and ensure an offering a significant achievement for the newly appointed across a range of core western music repertoire as Chief Executive and her team, especially as for well as new and contemporary music. the first time all proposals for funding in both the Tōtara and Kahikatea programmes were assessed FINANCIAL PERFORMANCE for delivery against Creative New Zealand’s revised Both total revenue and total expenses were Investment Strategy. down by 3.5 per cent in 2019 compared with the previous financial year. The fall in revenue In 2019, the grant from Creative New Zealand was due mainly to exchange transactions (CNZ) accounted for just over a third of CMNZ’s (subscriptions and box office) and the fall in total revenue as recorded in the year’s Financial expenses was due mainly to marketing and Statements. The 5 percent increase in CNZ salaries and wages/other staff costs. Under- funding for 2020 is budgeted to account for a staffing in the development area was rectified third of total revenue. towards the end of the year. As the Arts Council said: Inclusion in the Totara Total grants received in 2019 were at much the Haemata Programme “reflects [the Council’s] same level as in the previous year and included high regard for [CMNZ’s] significant contribution generous support from NZCT, the CMNZ to the artistic life of our nation”. Foundation, Foundation North, IHC Foundation, Judith Clark Memorial Fund, Todd Corporation and the Freemasons Foundation. Annual Report 2019 2 Donations, while less than in the previous year, The second special collaboration with CMNZ continued to make a valuable contribution to revenue. was a fund-raising event generously hosted by sculptor Terry Stringer and Tim McWhannell The fall in current assets during 2019 was more who opened up their new studio space and than offset by the fall in liabilities, leaving CMNZ’s home for “a celebration of visual art, music total assets/accumulated funds at about the and architecture”. This event was open to all same level as at the end of 2018. Auckland subscribers as well as to many other arts supporters. CMNZ’s Chief Executive curated As far as the new accounting and accountability the innovative musical offering which featured standard is concerned – which will require a four New Zealand professionals: NZSO’s Principal Statement of Service Performance for Tier 2 charities flautist, Bridget Douglas; leader of the Mazzoli from 1 January 2021 – CMNZ still intends to be an Trio, violinist Shauno Isomura; Associate Principal early adopter by incorporating pertinent non- APO violist, David Samuel; and APO cellist James financial information in its 2020 Financial Statements. Yoo. Their enthusiasm for chamber music as an intimate and inspirational form of musical FOSTERING EMERGING TALENT expression was palpable. For over fifty years CMNZ has fostered emerging talent through the annual NZCT Chamber Music We hope that there will be future opportunities Contest for secondary school ensembles and to organise such events. composers. The Chief Executive’s Report covers the experience in 2019. The aim of this investment THANKS TO BOARD AND MANAGEMENT in youthful endeavour is to encourage and This Report provides an opportunity for me to coach the process of exploration and discovery put on record my thanks to all members of the that comes from close musical engagement. Board for their time and guidance throughout the The future of chamber music in New Zealand year and for the support they have provided to depends on these young musicians, but it also me as Chair, to the new Chief Executive and to depends on the community’s willingness to the organisation as a whole. Each Trustee takes invest in them, and our gratitude is extended to their role and accountabilities very seriously in all those who have supported the Contest. the interests of ensuring a vibrant and resilient arts entity that is valued and respected by those COLLABORATIONS who deal with CMNZ in various ways. Each year, and 2019 was no exception, CMNZ’s chamber music offerings are enriched by various On behalf of the Board, I also extend thanks to artistic collaborations, including festival participation Chief Executive Catherine Gibson, the Senior (see Partnerships and Philanthropy). In addition, Leadership Team and other staff members for there were two special collaborations beyond successfully navigating the various challenges the concert hall in Auckland during the year. The that inevitably emerge during any year of first was with international cellist Matthew Barley operation in a dynamic arts market and economy. (and member of the touring Viktoria Mullova Trio) All are talented, enthusiastic and dedicated to the who agreed to perform for a core group of CMNZ mission of Chamber Music New Zealand. supporters at a private home, giving an insight into his talent for improvisation. This recital said something about CMNZ’s ability to attract such top international musicians to New Zealand and their willingness to share with CMNZ their own Kerrin M Vautier CMG enthusiasm and motivation for sustaining the future Chair of the Board of chamber music. Chamber Music New Zealand 3 Chamber Music New Zealand The Chief Executive’s Overview CHIEF EXECUTIVE’S OVERVIEW On a return trip, the Brodsky Quartet had a It gives me great pleasure to write the 2019 new line up that was engaging and musically overview as Chamber Music New Zealand’s satisfying. Jazz pianist Francesco Turrisi, who Chief Executive, following five and a half years in last toured for CMNZ in 2017 as a member the role of Artistic Manager. Beyond our concert of L’Arpeggiata, presented a different take and outreach activity, 2019 will be remembered as on chamber music with his suite of original the year where we were again successful in our compositions ‘Northern Migrations’. In Wellington application to Creative New Zealand’s Toi Tōtara we experimented by presenting in the Renouf Haemata Investment Programme. Six years of Foyer, which was transformed with lighting confirmed funding 2020–2025 provides us with effects, candles (imitation) and some cafe style certainty and confidence in our forward planning. table seating to create a more informal and up- close atmosphere. Our core activities fall into five distinct yet interconnected categories — strategically The pairing of New Zealand artists with developed to target a wide range of artists international stars was a feature of the and communities across New Zealand. They second half of the year. A collaboration with intertwine and interact to provide a synergistic the Australian Festival of Chamber Music programme that is well-rounded and engaging for in Townsville enabled us to bring US violist both our musicians and our increasingly diverse Jennifer Stumm to perform with Te Kōkī Trio. audience. Each component can be experienced New Zealand pianist Stephen De Pledge independently, or as a multi-layered journey into appeared alongside UK cellist Matthew Barley the world of chamber music up close. and international star, violinist Viktoria Mullova – made possible through a partnership with the ANNUAL CONCERT SERIES APO (Viktoria Mullova) and the Melbourne Recital The baroque bohemians Red Priest presented an Centre (Mullova Trio). evening of musical and theatrical entertainment in a near sell-out tour. Outstanding NZ baritone CMNZ commissioned two original New Zealand Julien Van Mellaerts supported by South African works – Spirit Flies, Sun Rises for Te Kōkī Trio by pianist James Baillieu performed a programme of composer Michael Williams (based at University songs of travel, landscape and drama – including of Waikato) and Mono no aware written by a new commission from NZ composer Gareth Salina Fisher for Matthew Barley and Stephen Farr about New Zealand’s iconic birds, the takahē, De Pledge, the latter received international dotterel, tūī, and the extinct huia.
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