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. performances ahead of the CMNZ tour.

Bringing London based Septura brass ensemble Voices New Zealand toured a newly developed to New Zealand was part of our strategy to work – Taonga Moana – the story of the kuaka broaden our scope. Septura and NZSO’s principal (godwit) on its spring journey south from its trombonist David Bremner also led the 2019 breeding nests in the great Siberian and Alaskan Nelson Residency for brass ensembles – a joint tundra to the rich feeding grounds provided project with Nelson Centre for Musical Arts, in Aotearoa by tidal flats and coastal marshes. with support from Nelson City Council and The journey, sung, staged and with audio and Victoria University of Wellington through the visual design, was a series of musical and visual New Zealand School of Music. Around thirty snapshots from the Arctic Ocean in the north participants from New Zealand and Australia to the Southern Oceans and Antarctica. The came together for four days of workshops and performance in Napier was part of the Hawke’s concerts, which included a performance as part Bay Arts Festival. of the Nelson Heritage Festival. Annual Report 2019 4

Our final tour of the year was a special The NZCT Chamber Music Contest epitomises appearance in Auckland and Wellington by team spirit, encourages young people to Quatuor Ébène as part of their global project strive to be the very best they can, and has the “Beethoven around the World”. Quatuor Ébène potential to be transformational. I noticed the were asked by Carnegie Hall to be the one warmth and enthusiastic support shown by the string quartet to play the Beethoven Cycle competitors towards each other throughout the through their 2019/2020 season in celebration National Finals weekend, so aptly demonstrating of Beethoven’s 250th anniversary. The musicians the nature of chamber music as that of music accepted the invitation and then took it to a amongst friends – despite the very competitive new level with the idea of playing Beethoven nature of this high-level competition. It was not just in New York, but to perform and record especially pleasing that we heard performances the complete cycle live in concerts right around of so much music written beyond the nineteenth the world. Additionally, a film crew travelled century and, even more so, to have three New with the quartet to create a documentary Zealand works in the national semi-finals. recording the journey. It was a unique opportunity to be part of an international Every year following the Contest, we conduct project by a world-renowned quartet and to a review looking at all facets of planning and increase our profile beyond our own concerts. execution to ensure that the model continues to improve and stay current. A new initiative for 2019 REGIONAL SERIES involved holding a focus group meeting at the We are committed to supporting New Zealand finals weekend made up of parents, teachers and musicians and composers and the annual supporters to discuss the possible future direction Regional Series further exemplifies this. In of the Contest and receive feedback about addition to over twenty volunteer regional any real or perceived barriers to participation. societies/presenters across the country we Recommendations to be implemented in 2020 also partnered with Wanaka Festival of Colour include removing the additional round in the (Julien Van Mellaerts and James Baillieu), Adam Auckland District Contest in order to lessen the Chamber Music Festival and Taupō Winter pressure on participants, holding the Central Festival (2019 Adam Troubadours) and ROSL Regional Final in Wellington (rather than Napier) (Royal Over-Seas League) Arts (Jacquin Trio). Ten and reformatting the awards ceremony to have a New Zealand composers were represented, and greater focus on the participants. nine ensembles performed a total of 63 concerts stretching from Kerikeri to Gore. MATARIKI SERIES Our 2019 Matariki Series saw NZTrio with NZCT CHAMBER MUSIC CONTEST musician and composer Horomona Horo on The NZCT Chamber Music Contest truly plays an taonga pūoro performing in six centres, including important part in the development of the next at the Christchurch Arts Festival. generation of musicians and music lovers, and so my grateful appreciation goes to NZCT for their commitment over the past fifteen years as the major funder of the Contest. In 1965 – the Contest’s first year – there were 250 students. This year we had 1425 students in 404 groups, and 19 composers submitted new work. 5 Chamber Music New Zealand

OUTREACH FINANCIAL OUTCOME Red Priest presented educational concerts As we progressed through the year it became for nearly 1500 children across three centres apparent that revenue was not going to meet – Napier, Wellington and Dunedin, as part of our budgeted target and so steps were taken to our series aimed at 8–12 year olds. Red Priest’s adjust costs, especially those in the administration effervescent and theatrical performance style and operating category. This resulted in a was ideally suited as an introduction to the music close to neutral year-end result, with overall and instruments of the Baroque Era. funds at around the same level as at the same Our strategy is to provide a different learning time in 2018. For our continued sustainability, experience each year: 2017 Imani Winds – wind management is acutely aware of the critical quintet; 2018 Heath Quartet – string quartet; 2019 importance of total revenue and so we continue Red Priest – baroque era. to evaluate and re-evaluate all of our various activities for revenue potential, cost - benefit, We also offered masterclasses and workshops audience growth and the relevance to our at universities, schools and local communities agreed Creative New Zealand outcomes. throughout the year. The many artistic collaborations that CMNZ As part of a multi-year partnership with IHC has with other presenters both within New Foundation, the CMNZ IHC Accessible Series is Zealand and internationally helps to both formed out of a simple yet important concept build our financial resilience and enhance our – relaxed musical experiences for people programming. We continue to make this an with intellectual disabilities that encourage important aspect of the artistic planning. participation and interaction. The programme allows, and indeed encourages, diverse In 2019 we grew our digital audience with the Air audiences to experience the joy and freedom New Zealand playlists, offering curated playlists that music can bring. In 2019 we presented four within the Air NZ inflight entertainment suite that performances and facilitated ten accompanying continued to rank within the top 20 playlists for workshops in Auckland, Hawke's Bay, New the year. Connecting with the digital audience Plymouth and Christchurch. This project was (and as a result building brand familiarity) is an led by community musician Julian Raphael essential part of our audience development and featured the chamber music group The strategy. We continue to explore different Noveltones. Julian was also joined by four music presentation styles and concert experiences to therapists who work on the programme as connect with New Zealand’s diverse community. facilitator mentees. NATIONAL OFFICE Audio description and touch tours were offered In the national office we have enjoyed the at three concerts during the year, with accessible company and resulting arts collegiality of Choirs e-reader concert programme booklets on the Aotearoa who have been our sub-lessees. As website for each tour. we look for new premises in 2020 the aim is to continue this arrangement. Several staff changes The informal and varied Classical Sessions at occurred through the first half year, mostly a the Third Eye (the Tuatara Temple of Taste) in domino effect as a result of my appointment Wellington continued to flourish, with the June from Artistic Manager to the role of Chief session part of the Wellington Jazz Festival. The Executive. Jack Hobbs, Artistic Administrator was sessions attracted both loyal supporters looking for a appointed as Artistic Manager, bringing to the new musical experience and new audiences looking role his experience of shadowing the portfolio for a relaxed way to interact with chamber music. over the past three years. Annual Report 2019 6

The Artistic Administrator position was filled by NATIONAL OFFICE STAFF Elliot Vaughan, a New Zealand School of Music Catherine Gibson, Chief Executive graduate composer, violist and experimental Laurel Bruce, Ticketing & Database Executive performer. Development Executive, Virginia Close Will Gaisford, Marketing Manager left at the start of 2019 due to visa issues and Rafaela Gaspar, Business & Fundraising Administrator Rafaela Gaspar was appointed to the renamed Rachel Hardie, Operations Coordinator, Business and Fundraising Administrator role. Wellington Concert Manager Jack Hobbs, Artistic Manager To cover a 2018 gap in the senior management, Stephanie Kemp, Development Manager Marketing Manager Will Gaisford had taken on Beckie Lockhart, Outreach Coordinator the Development portfolio in addition to that Yvonne Morrison, Finance Manager of Marketing. As we went into 2019 it became Elliot Vaughan, Artistic Administrator apparent that this was not sustainable, and so Anna van der Leij, Communications Executive mid-year he stepped down from the fundraising & Content Producer role to focus on his specialist area of marketing. Darcy Woods, Senior Designer With generous support from the CMNZ Foundation we were able to appoint Stephanie Kemp (Steff) as Development Manager at the CONCERT MANAGERS Auckland start of November. Steff comes to the role with Bleau Bustenera, Dunedin experience in fundraising in the arts in the US and Richard Dingwall, Christchurch in the social welfare sector in Australia. Jody Keehan, Jamie Macphail, Hawke’s Bay New Plymouth Aja Lethaby, Marketing Executive, who was Catherine Martin, Nelson working from Auckland in a .8FTE position Clare Monti, Invercargill handed in her notice at the end of the year. The Rosie Stather, Hamilton Marketing Manager has redistributed her tasks Sharon Stephens, Palmerston North around his team and budgeted for short-term Virginia Warbrick, contracting for specific high-skilled tasks not covered by the current team, as and if required. DISTRICT CONTEST ORGANISERS Gill Armstrong, East Coast I would like to extend my very warm thanks to Jocelyn Beath, Taranaki all staff, both in the national office and those Ingrid Culliford, Whanganui around the country – our nine Concert Managers Atsuko Fukuoka, Northland along with their associated committee members Emma Jarman, Southland and volunteers, and the fifteen District Contest Jody Keehan, Canterbury Organisers and their army of volunteers who Gemma Lee, Auckland ensure the nationwide NZCT Chamber Music Vacant, covered by Beckie Lockhart, Otago Contest runs smoothly. My final thanks go to the Kathryn Orbell, Waikato Board of Trustees who generously give their time Rosie-Anne Pinney, Nelson/Marlborough to fulfill their governance role Rhondda Poon, Hawke’s Bay Heather Selway, Manawatū Lynne Sperring, Bay of Plenty Ros Taylor, South Canterbury Pip Want, Wellington Catherine Gibson Chief Executive (as at 31 December 2019) Chamber Music New Zealand Brodsky Quartet, photo: Martina Simkovicova

Julien Van Mellaerts, photo: Diana Roberts Annual Report 2019 8 CMNZ Constitution and Governance

Chamber Music New Zealand was established GOVERNANCE RESPONSIBILITIES in 1950. The Chamber Music New Zealand Trust Trustees’ responsibilities, accountabilities and is a Registered Charity constituted under a expectations are comprehensively set out in the Deed of Charitable Trust [Registered Charity Board’s Governance Manual which covers the Number CC38382]. roles, duties, obligations and protocols associated with the positions of Trustee and Chair. The Manual also encompasses a Code of Conduct and provisions relating to Board performance BOARD OF TRUSTEES evaluations, as well as separate charters for the Kerrin M Vautier CMG, Chair Board’s Audit & Risk and Remuneration & HR Vanessa Doig Committees. This Governance document is itself subject to Board review every year or so. Hamish Elliott Christopher Finlayson The Board’s governance role includes oversight Andreas Heuser of management and financial performance, risk Matthew Savage assessment, strategy implementation, funding requirements and funders’ expectations as well as overall guidance on current and emerging issues facing the organization. CMNZ’s Trust Deed provides for the appointment of up to eight Trustees. At the end of 2019 there As part of its governance mandate, the were six independent Trustees, as listed above. In Board ensures the currency of management August 2019, the Board welcomed Hamish Elliott policies relating for example to Health, Safety as a new member of the Board for an initial term and Wellbeing, Financial Delegations and of three years. He also joined the Board’s Audit & Controls, Investment of Funds and Professional Risk Committee. In July, Kerrin Vautier accepted Development. It requires the maintenance of a reappointment for a second term of up to three Risk Register, which is reviewed as a standard part years. A new Trustee, Greg Fleming, will commence of the CEO’s regular reporting to the Board, and an initial three-year term in March 2020. a Register of Trustees’ Interests as the basis for avoiding any real or perceived conflicts of interest. In appointing or re-appointing Trustees the Board is always mindful of the need for the Board Procedures for conducting the Board’s role as a whole to reflect a range of relevant skills, are incorporated in the Governance Manual competencies and experience as the basis for and, in the interests of efficiency, include a ensuring a diversity of perspectives and a range requirement to maintain a forward Meeting of networks that can be brought to bear on its and Work Schedule for the financial year, which governance responsibilities. not only sets out meeting dates/times but also the core elements of the year’s Work Plan. It is Being a Trustee of CMNZ is a voluntary position also designed to facilitate agenda planning for and Trustees generously donate their time in discussions on strategic issues and priorities. order to understand and address issues affecting the resilience and sustainability of the business. In 2019 the Trust Board met seven times in person and once by conference call and was supported by the work of the Audit & Risk as well as the Remuneration & HR Committees. It held its AGM in April and in December a joint meeting with the CMNZ Foundation which has been a major source of funding support for the CMNZ Trust. 9 Chamber Music New Zealand Chamber Music New Zealand

VISION • Communities across New Zealand value and engage with live chamber music.

MISSION We exist to be leaders in: • Nurturing the love and understanding of chamber music. • Delivering and sharing quality world-class chamber music experiences throughout Aotearoa. • Supporting and advocating for New Zealand performers and composers. • Encouraging engagement with chamber music by young people. • Providing chamber music opportunities that promote stronger communities and enrich the human experience. • Fostering diversity, nurturing creativity and innovation through live chamber music performances.

VALUES We value: • Collaboration – We work both internally and externally to do great things together. • Diversity – We recognise New Zealand’s distinctive cultural and social diversity and strive to ensure arts opportunities for all. • Excellence – We pursue creative excellence and outstanding quality. • Inclusion – We are committed to providing access and opportunities for all New Zealanders to be inspired by and participate in live chamber music. • Innovation – We are creative and open-minded and always looking to innovate and improve. • Integrity – We build trust and confidence with our audiences, artists, supporters and communities. • Sustainability – We undertake careful planning to secure the future of our environment. Annual Report 2019 10 2019 Statistics

DIVERSITY NZCT CHAMBER MUSIC CONTEST SUBSCRIPTION AND REGIONAL CONCERTS

NZCT CHAMBER MUSIC ENSEMBLE ORIGINS CONTEST SEMI-FINALS 42% New Zealand (12 GROUPS, 45 MUSICIANS) 26% Mixed 22% 32% International 5% 18% 44% 11% PERFORMER ORIGINS 7% Western Europe 2% Eastern Europe NZCT CHAMBER MUSIC CONTEST 28% UK 57% 2% USA 3% 2% Africa 2% 3% Australia 31% 56% New Zealand 1%

6% GENDER BALANCE 54% Male performers 46% Female performers DIVERSITY NZ CENSUS 2018 70% 17% 8% ACTIVITY & REACH 15% 1% NEW ZEALAND ACTIVITY STATISTICS 124 Coaching sessions 1% for the Contest 63 Regional concerts 55 Subscription concerts 21 Contest concerts (incl. District, Regional, Semi-finals and Finals) 14 Prelude performances (Contest ensembles) 9 Third Eye Classical Sessions 6 Matariki concerts 6 Masterclasses 4 Accessible workshops/concerts 3 Education concerts 2 Stakeholder/Fundraising concerts 11 Chamber Music New Zealand CMNZ 2019

MARCH APRIL

RED PRIEST SEPTURA Piers Adams (Recorders), Adam Summerhayes (Violin), Simon Cox & Matthew Knight, Artistic Directors Angela East (Cello), David Wright (Harpsichord) Huw Morgan, Alan Thomas and Simon Cox (Trumpets), Matthew Gee and Matthew Knight (Trombones), Daniel Annual Concert Series | 10 concerts West (Bass Trombone), Peter Smith (Tuba) Auckland, Hamilton, New Plymouth, Napier, Palmerston North, Wellington, Nelson, Annual Concert Series | 5 concerts Christchurch, Dunedin, Invercargill Auckland, Wellington, Nelson, Christchurch, Dunedin “It was a concert of dazzling virtuosity, impeccable ensemble work and a seductive “Brass ensemble delivers golden performance” sense of fun. The audience was completely won – John Button, Dominion Post over by their musicianship and charisma and the witty spoken introductions” – Elizabeth Kerr, Nelson Brass Workshop Residency | 4 day Upbeat RNZ Concert residency and concerts * Nelson JULIEN VAN MELLAERTS *Presented in association with the Nelson Centre for Musical AND JAMES BAILLIEU Arts with support from Victoria University of Wellington. A Julien Van Mellaerts (baritone) and James Baillieu (piano) free concert at the Cathedral for the community in Nelson was presented in association with Nelson Heritage Festival Annual Concert Series | 3 concerts “The Nelson residency was an incredibly Hamilton, New Plymouth, Napier enriching experience for all of us – it was wonderful to interact so closely with the students Regional Series | 8 concerts and be inspired by their enthusiasm and passion Warkworth, Tauranga, Whanganui, Waikanae, for brass playing.” – Simon Cox, Septura Motueka, Christchurch, Wanaka*, Cromwell*

*Presented in association with Wanaka Festival of Colour “The sessions just had so much passion, and the standard was very high.” – Residency participant “ …both displayed great musical accomplishment and polish” – Lindis Taylor Middle C

Red Priest, performing in Wellington Annual Report 2019 12

NEW ZEALAND STRING QUARTET Helene Pohl (violin), Monique Lapins (violin), Gillian Ansell (viola), Rolf Gjelsten (cello)

Regional Series | 5 concerts Whangarei, Warkworth, Motueka, Christchurch, Wellington

“We loved their sparkling playing, professional attitude, enthusiasm, warm and relaxed personalities, and choice of programme. They really brought the music alive and were very well received by everyone in the audience.” – Whangarei Music Society

MAY

BRODSKY QUARTET Gina McCormack (Violin), Ian Belton (Violin), Paul Cassidy (Viola), Jacqueline Thomas (Cello)

Annual Concert Series | 7 concerts Auckland, Napier, Palmerston North, Wellington, Septura Christchurch, Dunedin, Invercargill*

*Presented in association with Southland Arts Festival

“This was a beautiful performance by the Brodsky Quartet, as multi-layered and emotionally complex as the work itself and at the end they ‘held’ the audience for several seconds of silence before the very appreciative applause.” – Elizabeth Kerr, Upbeat RNZ Concert

DUO COL LEGNO Heleen du Plessis (Cello) and Yoshiko Tsuruta (Marimba)

Regional Series | 9 concerts Kerikeri, Warkworth, Tauranga, Rotorua, Gisborne, Whanganui, Oamaru, Gore, Wanaka

“It was a great variety of newer and older music. And nice to see a newly commissioned NZ work [Gareth Farr]” – Music Society Eastern Southland

Duo Col Legno 13 Chamber Music New Zealand

JUNE

DONIZETTI TRIO Luca Manghi (Flute), Ben Hoadley (Bassoon), David Kelly (Piano)

Regional Series | 9 concerts Kerikeri, Whangarei, Tauranga, Whakatane, Lower Hutt, Motueka, Wanaka, Cromwell

“Lovely to hear bassoon featured and the trio played a wonderful variety of music with an unexpected encore. Captivated our audience most of whom have not heard bassoon in such an intimate setting.” – Aroha Music Society, Kerikeri

FRANCESCO TURRISI (Solo piano)

Annual Concert Series | 8 concerts Auckland, Hamilton, New Plymouth, Napier, Wellington, Nelson, Christchurch, Dunedin

“Nothing is predictable. His musical journey is like a flowing stream of water, always leaving the familiar, leaving one’s family roots, twisting, turning, and adapting. Donizetti Trio It has an emotional authenticity, always introverted, always melancholy, always tinged with nostalgic grief and moments of JULY tempestuous feeling, then resolving into quiet meditation. Highly skilful and original.” 2019 ADAM TROUBADOURS – Margot Hannigan, Nelson Mail Claudia Tarrant-Matthews (Violin), Sofia Tarrant-Matthews (Violin), Grant Baker (Viola), Olivia Wilding (Cello) TORU WHĀ Horomona Horo (taonga pūoro), NZTrio, Amalia Hall Regional Series | 3 concerts (violin), Ashley Brown (cello), Somi Kim (piano) Rotorua, Taupō*, Lower Hutt

Matariki | 6 concerts * presented in association with the Taupō Winter Festival (Wellington, Upper Hutt, New Plymouth, Palmeston North, Napier, Christchurch*) “Good, well balanced programme. Young talented musicians with good musical * presented in association with the Christchurch Arts Festival interpretation of the works they played.” – Rotorua Music Federation Annual Report 2019 14

AUGUST Six ensembles selected from across the country performed in the National Final at the Auckland NZCT CHAMBER MUSIC CONTEST Town Hall. The Contest was adjudicated by some The NZCT Chamber Music Contest, established of New Zealand’s top musicians – concert pianist in its current form in 1965, is the only nationwide Diedre Irons; New Zealand Symphony Orchestra chamber music competition for young principal oboist Robert Orr and Ashley Brown, secondary school musicians and composers cellist from NZTrio. in the country and consistently attracts around 1500 student entries annually in 15 districts Wellington string quartet Sixteen Strings came throughout the country from as far north as out on top winning the Wallace Foundation Whangarei to our southernmost district round Platinum Award at the National Final. held in Invercargill. Many of New Zealand’s most celebrated musicians count this competition as Sixteen Strings is made up from students from the springboard that helped launch their careers. four different Wellington schools: Aotea College, Chilton St James, Wellington College and Upper Each year performance standards rise and the Hutt College. They are violinists Toloa Faraimo combination of instrumentation within ensembles (16), and Shanita Sungsuwan (14), violist Peter and works played become more varied. As well Gjelsten (16) and cellist Emma Ravens (16). as being part of many journeys towards careers in music, the NZCT Chamber Music Contest has The National Final gala concert on the Saturday been instrumental in building audiences for the evening was again live streamed to viewers future by introducing young people to chamber across the world, and Radio New Zealand Concert music through participation. recorded both the semi-finals and finals concerts.

Performance group entry numbers remained 1425 PARTICIPANTS NATION WIDE steady with just over 400 ensembles and a 404 ENSEMBLES slight increase in Original Composition entries. 149 PARTICIPATING SCHOOLS This was the third year that a voluntary ethnicity 19 ORIGINAL COMPOSITIONS question was included as part of the entry form. These statistics tell an interesting story and show that students from an enormous range of backgrounds enter the Contest.

Virtuoso Strings Octet Sixteen Strings 15 Chamber Music New Zealand

JENNIFER STUMM AND TE KŌKĪ TRIO MATTHEW BARLEY AND Jennifer Stumm (Viola), Te Kōkī Trio - Martin Riseley (Violin), STEPHEN DE PLEDGE Inbal Megiddo (Cello), Jian Liu (Piano) Matthew Barley (Cello), Stephen De Pledge (Piano)

Annual Concert Series | 6 concerts Annual Concert Series | 3 concerts Auckland, Wellington, Nelson, Christchurch, New Plymouth, Napier, Palmerston North Dunedin, Invercargill “The players delivered everything one would “Rumours predicting an outstanding performance expect of performers at the highest level, from the Te Kōkī Trio with guest violist Jennifer expressing tenderness, passion and yearning Stumm proved to be absolutely on the button.” with the beautiful singing tone of the cello, – Marion Poole, Otago Daily Times along with dramatic surprises, dark disturbing passages and serene meditations. Virtuosity by MORTON TRIO both instrumentalists was often needed, but the Arna Morton (Violin), Alexander Morton (Horn), technical brilliance never overshadowed the Liam Wooding (Piano) communication of the emotion of the piece.” – Anne Bovett, Music Reviews Taranaki Regional Series | 9 concerts Kerikeri, Warkworth, Rotorua, Whakatane, Whanganui, Lower Hutt, Wellington, MULLOVA TRIO Motueka, Christchurch Viktoria Mullova (Violin), Matthew Barley (Cello), Stephen De Pledge (Piano) “All three musicians played with such a sense of spontaneity and abandon that even the less Annual Concert Series | 3 concerts Auckland, Wellington, Christchurch familiar music on the programme came to life fully and convincingly.” – Tony Ryan, “Could there be a more perfect pairing of Upbeat RNZ Concert piano trios than Schubert's second and Ravel's only contributions to the genre? These were SEPTEMBER the musical pillars in a superlative evening of TONY CHEN LIN chamber music from violinist Viktoria Mullova, along with cellist Matthew Barley and pianist Tony Chen Lin (piano) Stephen De Pledge” – William Dart, NZ Herald Regional Series | 14 concerts Kerikeri, Whangarei, Warkworth, Rotorua, Gisborne, Taihape, Whanganui, Waikanae, Upper Hutt, Wellington, Motueka, Rangiora, Cromwell, Gore

“Every now and then, usually years apart, I encounter a performance that goes straight to my heart and which seems to inhabit my soul. Today, yours was one such.” – Tony Ryan, Upbeat RNZ Concert Annual Report 2019 16

OCTOBER BEETHOVEN LIVE AROUND THE WORLD - QUATUOR ÉBÈNE TAONGA MOANA - Pierre Colombet (Violin), Gabriel Le Magadure (Violin), VOICES NEW ZEALAND CHAMBER CHOIR Marie Chilemme (Viola), Raphaël Merlin (Cello) Rachel Alexander Sotherland, Pepe Becker, Ella Ewen, Shona McIntyre-Bulls (Sopranos) Annual Concert Series | 2 concerts Helen Acheson, Morag Atchison, Hazel Fenemor, Andrea Auckland, Wellington Cochrane (Altos) Matthew Bennett, Phillip Collins, Jared Corbett, Albert “Chamber Music New Zealand saved its best Mataafa (Tenors) till last, signing off 2019 with Quatuor Ébène James Butler, Gregory Camp, Nick Forbes, William King celebrating its own 20th birthday and Beethoven's (Basses) upcoming 250th. Magnificently. And a momentous occasion it was, with a film-maker and multiple Conductor Karen Grylls cameras on stage, shooting footage for a documentary to be released after these musicians Annual Concert Series | 8 concerts have taken the composer's 16 quartets around the Hamilton, New Plymouth, Napier*, Palmerston globe. For two enchanted hours, we were part of North, Nelson, Christchurch, Dunedin, Invercargill the world.” – William Dart, NZ Herald “Brilliant performance. superb skill. stunning power..impressive and deeply emotionally engaging.Taonga Moana was moving, uplifting, and though-provoking. A very special evening of music indeed." – Otago Daily Times

* presented in association with the Hawke’s Bay Arts Festival

JACQUIN TRIO Jessie Grimes (clarinet), Kay Stephen (viola), Charis Hanning (piano)

Regional Series in association with ROSL Arts (Royal Over-seas League NZ) | 7 concerts Whangarei, Whanganui, Upper Hutt, Rangiora, Wanaka, Cromwell, Gore

“Jacquin Trio’s thorough and thoroughly invigorating practical demonstration of the – at times devastating – effectiveness of the combination of piano, clarinet and viola. To call this recital refreshing would be an understatement.” – Paul Serotsky, Seen and Heard International

Quatuor Ébène 17 Chamber Music New Zealand

NEW ZEALAND WORKS PERFORMED Across the Subscription Concert Season and Regional Series 16 New Zealand works were performed. Of these 8 were New Zealand premieres. The NZCT Chamber Music Contest continues to attract performances of New Zealand works with 45 represented in addition to the 19 new student composition entries.

NUMBER OF TITLE COMPOSER PREMIERE PERFORMANCES CMNZ SUBSCRIPTION SERIES ONLY

物の哀れ

BOTH SUBSCRIPTION & REGIONAL SERIES

REGIONAL PRESENTER SERIES ONLY

白日梦

MATARIKI

CLASSICAL SESSIONS, NZCT CONTEST, VARIOUS OTHERS

IHC ACCESSIBLE SERIES

DIGITAL REACH THROUGH AIR NEW ZEALAND PLAYLISTS CMNZ offer curated playlists within the Air New Zealand inflight entertainment suite that continued to rank within the top 20 playlists during 2019. Popular playlists ‘Calm’ and ‘Music Up Close’ amassing more than 150,000 listening hours so far and outperforming many chart-topping commercial alternatives. ‘Calm’ is the tenth-ranking playlist. Annual Report 2019 18

The Morton Trio 19 Chamber Music New Zealand CMNZ in the Community

RESIDENCY At CMNZ our mission is to give everyone • SEPTURA (UK brass ensemble) with David Bremner (Principal Trombone, NZSO), Nelson. In the opportunity to value and engage partnership with the Nelson Centre for Musical with live music and new experiences. Arts and Victoria University of Wellington. CMNZ supports making music part of satisfying lives. Our outreach programme WORKSHOPS is a comprehensive offering of added- Artists on CMNZ tours gave informal concerts value grassroots events that surround and workshops: and strengthen our concert calendar. • Piers Adam from RED PRIEST performed for Our artist masterclasses, pre-concert talks primary school students at St Clair School and pre-concert performances foster in Dunedin creative exploration and music education. Our commitment to inclusivity and • SEPTURA directed the residency students in accessibility continues to grow through the Gabrielli Concert in the Heritage Festival in Nelson our audio-described concerts, touch tours, and relaxed performances. • SEPTURA offered an open rehearsal with Grey Lynn kindergarten, Auckland

• QUATUOR ÉBÈNE, Kāpiti College Marae TERTIARY MASTERCLASSES performance • FRANCESCO TURRISI: Francesco Turrisi (piano) at the New Zealand School of Music, CONTEST COACHING Victoria University of Wellington With support from Trinity College London, Judith Clark Memorial Fund, 124 ensembles • JENNIFER STUMM WITH TE KŌKĪ TRIO: Jennifer and young composers (437 young musicians Stumm (viola) at the New Zealand School of in all) received coaching in preparation for the Music, Victoria University of Wellington NZCT Chamber Music Contest.

• JULIEN VAN MELLAERTS & JAMES BAILLIEU: ACCESS Julien Van Mellaerts (baritone) and James Baillieu For sight-impaired patrons (piano) at the University of Waikato, Hamilton • The Auckland and Wellington concerts given : Ian Belton (violin) & • BRODSKY QUARTET by Septura were audio described with an Jacqueline Thomas (cello) at the School of accompanying “touch tour” Music, University of Auckland • The New Plymouth concert Taonga Moana MASTERCLASSES IN THE COMMUNITY was audio described with an accompanying • THE JACQUIN TRIO, masterclasses, Invercargill “touch tour”

• THE MORTON TRIO, masterclasses and • CMNZ produced braille programmes for the school visits, Whanganui audio-described concerts

• CMNZ produced online e-reader compatible programmes for all subscription concerts Annual Report 2019 20

• CMNZ offered large print programmes on Demystifying the Concert Experience request to patrons at all subscription concerts • 55 Pre-concert/post-concert lectures, Accessible Workshop and Concert Series performances and Q&A sessions in (in partnership with the IHC Foundation) subscription centres

• Accessible Workshop and Concert Series (in • Informative programme booklets at all partnership with the IHC Foundation) concerts with information about music and musicians, also available online. • Concert-series that focused on inclusion, participation and discovery opportunities for diverse audiences.

• Facilitator Julian Raphael worked with music therapists Sidharth Pagad (Auckland), Chelsea Makere-Savaiinaea (Hawke’s Bay), Kimberley Wade (Christchurch) and Laura Durville (New Plymouth)

• Workshops and performances at the Ranfurly Activity Centre, Auckland, Hohepa Community Performance Space, Christchurch, Napier Conference Centre and Theatre Royal, New Plymouth

• Participating group, Wellington based jazz ensemble, The Noveltones.

Visits and performances

• The Noveltones, Refugees as Survivors New Zealand (RASNZ) performance, Auckland

• The Noveltones, The Cantabrainers Choir performances and workshop, Christchurch

• The Noveltones, Orokohanga Music Trust, school performances in Hawke’s Bay

• Informal Community Performances

• Informal monthly “Classical Sessions” at the Third Eye, Tuatara’s Temple of Taste, Wellington.

• NZCT Chamber Music Contest groups performed in the Pre-Concert Series prior to subscription concerts during Francesco Septura rehearsal Turrisi’s tour 21 Chamber Music New Zealand Partnerships & Philanthropy

We are deeply grateful for the generosity of our CMNZ’s 2019 touring season received invaluable funders, sponsors and individual supporters. support from a range of Trusts, Foundations and local government funders. Foundation North Creative New Zealand is our core funder and remain generous supporters of our Auckland we are enormously grateful for their ongoing and Northland programmes, while Community commitment and support for all we do. Trust South, Invercargill Licensing Trust, Eastern & Central Community Trust, Rātā Foundation, The NZCT Chamber Music Contest went ahead Otago Community Trust, TSB Community Trust, as usual with support from many corners, first Trust Waikato and Southern Trust continue to be and foremost from New Zealand Community vital to the success of other regional programmes. Trust (NZCT). We are proud of this iconic event and grateful to NZCT for making it possible. With Our Wellington season was supported by generous support received from the Judith Clark Wellington City Council, Wellington Community Memorial Fund, Trinity College London and Trust and new sponsor, Forsyth Barr. Our Todd Corporation, our coaching programme 2019 touring programme was greatly helped delivered advice and encouragement to over by support from the Lion Foundation, Pub 437 performers and composers in the Contest. Charity, Deane Endowment Trust, Turnovsky Those who progressed through to the Regional Foundation, Four Winds Foundation, KBB Music, and National Finals benefited from the generous Todd Corporation and Wallace Arts Trust. travel scholarships offered by the Freemasons Foundation (regional) and Professor Jack C What’s more our valued partnerships with Richards (national). The Freemasons Foundation festivals (at least 8 in 2019) and presenters across also supported the live streaming of the Finals Australasia support us in reaching audiences and so that friends and family and other audiences securing touring groups. around New Zealand and further afield could connect with the Contest. The Wallace Arts Our landmark education and community Trust supported the overall winner’s prize, while outreach programme depends on the support SOUNZ Centre for New Zealand Music and of the IHC Foundation (who provide for our Composers Association of New Zealand (CANZ) accessible concert series) and the Judith Clark gave prizes in support of New Zealand works. Memorial Fund. Performing Arts Fund helped KBB Music provided music prizes for wind, us provide an educational concert with the UK brass and/or percussion players. University of music group Red Priest, and Adam Foundation Auckland were again Contest sponsors. Mt. provided funding for our Classical Sessions at Wellington Foundation and One Foundation Tuatara’s Third Eye. also supported the Contest. Our flagship event is a true collaboration. Finally, Chamber Music New Zealand is indebted to the many generous and committed individuals The Nelson Brass Ensemble Residency, which who contribute financially and personally to the drew ambitious brass students from across New success and longevity of our work, with special Zealand and Australia for several days of immersive thanks to our regular givers. workshops, was held in April with support from Nelson City Council and Victoria University of Wellington through New Zealand School of Music We couldn’t do what we do without this towards student travel scholarships and Nelson dedicated and passionate support – Centre of Music Arts (NMCA). thank you. Annual Report 2019 22

Virtuoso Strings Octet 23 Chamber Music New Zealand Summary Financial Statements Chamber Music New Zealand Trust FOR THE YEAR ENDED 31 DECEMBER 2019

STATEMENT OF COMPREHENSIVE REVENUE AND EXPENSES FOR THE YEAR ENDED 31 DECEMBER 2019

Equity

NOTE: These Statements are to be read in conjunction with the Notes to the Financial Statements and the Auditor's Report - 1 - Annual Report 2019 24

STATEMENT OF CHANGES IN NET ASSETS AS AT 31 DECEMBER 2019

STATEMENT OF FINANCIAL POSITION AS AT 31 DECEMBER 2019

Equity Equity

NOTE: These Statements are to be read in conjunction with the Notes to the Financial Statements and the Auditor's Report NOTE: These Statements are to be read in conjunction with- the1 - Notes to the Financial Statements and the Auditor's Report - 1 - 25 Chamber Music New Zealand

STATEMENT OF CASH FLOWS AS AT 31 DECEMBER 2019

SUMMARY FINANCIAL STATEMENTS This summary has been extracted from the Trust's full financial statements for the year ending 31 December 2019, which were prepared in accordance with New Zealand Generally Accepted Accounting Practice (NZ GAAP). The full financial statements comply with the PBE Accounting Standards as appropriate for the Tier 2 not-for-profit public entities and were authorised for issue by the Trustees on 19 March 2020.

The summary financial statements have been prepared in accordance with PBE FRS-43 Summary Financial Statements. The presentation currency is New Zealand dollars rounded to the nearest dollar unit.

The SFS do not include all the disclosures provided in the full financial statements and cannot be expected to provide as complete an understanding as presented in the full financial statements. A copy of the full financial statements, including the Independent Auditor's Report, may be obtained from CMNZ, L4, 75 Ghuznee St, Wellington.

The auditor has audited the full financial statements of the Trust and has issued an unmodified opinion on those statements.

CHANGES IN ACCOUNTING POLICIES The accounting policies adopted are consistent with those of the previous year. 2019 2018 1. Exchange Revenue $ $ Revenue from providing goods or services 341,298 384,537 Subscriptions 325,880 349,021 Interest, dividends and other investment revenue 2,682 12,785 Other exchange revenue 0 0 Total revenue from exchange transactions 669,860 746,343

2019 2018 1. Exchange Revenue Annual$ Report 2019 26 $ Revenue from providing goods or services 341,298 384,537 SubscriptionsNOTES TO THE FINANCIAL STATEMENTS 325,880 349,021 Interest,FOR THE dividends YEAR ENDED and other 31 investmentDECEMBER revenue 2019 2,682 12,785 Other exchange revenue 0 0 Total revenue from exchange transactions 669,8602019 746,34322018018 2.1. Exchange Non-exchange Revenue Revenue $ $ GrantsRevenue received from providing goods or services 1,329,505341,298 1,342,284 384,537 DonationsSubscriptions received 325,880279,898 329,324 349,021 SponsorshipInterest, dividends and sponsorship and other investment in-kind revenue 86,7822,68272,109 12,785 Other exchangenon-exchange revenue revenue 0 0 Total revenue from exchangeNon-exchange transactions transactions 1,696,185669,860 1,743,717746,343

2019 2018 2.3. Non-exchangeOther Revenue Revenue $ $ GrantsOther Revenue received (including rental income) 1,329,50554,135 1,342,28419,364 Donations received 279,898 329,324 Sponsorship and sponsorship in-kind 86,7822019 72,1092018 Other4. Artistic non-exchange and production revenue 0$ 0$ TotalArtists' revenue performance from Non-exchange fees and costs transactions 1,696,185940,4682019 1,743,717 896,8832018 Marketing2. Non-exchange Revenue 290,268$ 358,290$ PresentationGrants received 1,329,505229,3912019 1,342,284227,7792018 TotalDonations3. Other artistic Revenue received and production expenses 1,460,127279,898$ 1,482,952329,324$ OtherSponsorship Revenue and (including sponsorship rental in-kind income) 86,78254,135 19,36472,109 Other non-exchange revenue 20190 20180 Total5. Administration revenue from and Non-exchange operating transactions 1,696,1852019$ 1,743,7172018$ Finance4. Artistic Costs and production 21,507$ 23,078$ Artists'Rent performance fees and costs 940,46870,0002019 896,88371,6522018 MarketingSalaries3. Other and Revenue wages 290,268730,085$ 358,290749,263$ PresentationOther Revenuestaff costs (including rental income) 229,39154,13511,079 227,77945,64319,364 TotalOther artistic administration and production and operating expenses expenses 1,460,127126,062 1,482,952134,485 Total administration and operating expenses 958,7332019 1,024,1212018 4. Artistic and production 2019$ 2018$ Artists'5. Administration performance and fees operating and costs 940,468$ 896,883$ FinanceMarketing Costs 290,26821,507 358,29023,078 RentPresentation 229,39170,000 227,77971,652 SalariesTotal artistic and andwages production expenses 1,460,127730,085 1,482,952749,263 Other staff costs 11,079 45,643 Other administration and operating expenses 126,0622019 134,4852018 Total5. Administration administration and and operating operating expenses 958,733$ 1,024,121$ Finance Costs 21,507 23,078 Rent 70,000 71,652 SalariesA total of and $34,782 wages was received in 2019 (2018: $27,459) as sponsorship in-kind and is730,085 included in 749,263 Othersponsorship staff costs and sponsorship in-kind figure. Sponsorship in-kind services include: marketing,11,079 printing45,643 Otherand venue administration costs. and operating expenses 126,062 134,485 Total administration and operating expenses 958,733 1,024,121 Funding received from Creative New Zealand in 2019 amounted to $855,000 (2018: $850,000), and has been included in grants received. Funding received from Foundation North in 2019 amounted to $60,0000 (2018: $75,000)

NOTE: These Statements are to be read in conjunction with the Notes to the Financial Statements and the Auditor's Report - 3 -

NOTE: These Statements are to be read in conjunction with the Notes to the Financial Statements and the Auditor's Report - 3 -

NOTE: These Statements are to be read in conjunction with the Notes to the Financial Statements and the Auditor's Report - 3 - 27 Chamber Music New Zealand

Red Priest Annual Report 2019 28 A special thank you to all of our funding partners and sponsors

CORE FUNDER

Thanks to the CMNZ Foundation for its support of CMNZ Trust

NZCT CHAMBER MUSIC CONTEST PARTNERS

Core Contest Funder Principal Contest Sponsor

CONTEST FUNDING PARTNERS

NATIONAL TOURING PARTNERS EDUCATION AND COMMUNITY PARTNERS

Judith Clark Memorial Fund

KEY FUNDING PARTNERS

FUNDING PARTNERS The Adam Foundation CANZ Community Trust South TSB Community Trust Eastern & Central Community Trust Four Winds Foundation Mt. Wellington Foundation Turnovsky Endowment Trust One Foundation Otago Community Trust Performing Arts Fund SOUNZ Trust Waikato

We also thank our Business Partners: Phantom Billstickers and Bluestar. Level 4, 75 Ghuznee Street PO Box 6238, Wellington 0800 CONCERT (266 2378) [email protected] www.chambermusic.co.nz