Creative New Zealand Grants FEBRUARY to MAY FUNDING ROUND 2006-2007

Total Page:16

File Type:pdf, Size:1020Kb

Creative New Zealand Grants FEBRUARY to MAY FUNDING ROUND 2006-2007 Creative New Zealand Grants FEBRUARY TO MAY FUNDING ROUND 2006-2007 This is a complete list of project grants offered in the second funding round of the 2006 - 2007 financial year. Applications to this round closed on 23 February 2007 and grants were announced in late May. Grants are listed within artforms under Creative New Zealand funding programmes. In this round, 245 grants totalling more than $3.9 million were offered to support projects by New Zealand artists, practitioners and arts organisations. Close to $13 million was requested from 723 applications. Arts Board: Creative and Natural Selection and Daniel Arps: towards includes $2,800 from the Butland Music participating in Documenta 12 Scholarship. Professional Development $17,390 $10,000 CRAF T/OBJECT ART Unitec Institute of Technology: towards the Dylan Lardelli: towards composition studies in Mary Curtis: towards a residency in Munich 2007/08 artist-in-residence programme Europe $10,270 $12,500 $25,800 LITERATURE Layla Walter: towards attending and Liam Mallett: towards completing postgraduate demonstrating at an international GAS Bravado Magazine Incorporated: towards issues flute studies in Switzerland. conference $8,000 10 to 12 of “Bravado” $5,530 $8,000 Julia McCarthy: towards violin studies in the Tracey Wedge: towards study in the United MOVING IMAGE Advanced Masters Programme at the Guildhall Kingdom $8,000 $10,000 New Zealand Film Festival Trust: towards the visiting filmmakers’ programme of the 2007 DANCE Festival Lissa Meridan: towards composition studies in $20,000 France (recipient of the 2007 Edwin Carr Maria Dabrowska: towards a two-week Foundation Scholarship) workshop to develop the new work “Shimmer” MUSIC $26,000 $12,000 Jennifer Banks: towards postgraduate violin study Sani Muliaumaseali’i: towards preparing the role at the New England Conservatory of Music of Siegfried Raewyn Hill: towards developing a workshop, $8,000 “Untitled” $26,000 $50,000 Claire Cowan: towards a research trip to Los Claire Nash: towards expenses while resident Angeles and New York with The Song Company Chris Jannides: towards study at Chichester $3,600 University in the United Kingdom $900 $8,000 Lyell Cresswell: towards CD recording costs New Zealand Academy of Choral Music and FINE ARTS $4,000 Elise Bradley: towards establishing a New Adam Art Gallery: towards research for an Zealand Academy of Choral Music Kristen Darragh: towards postgraduate opera $21,900 exhibition and performance series on sound/art studies at the Royal Academy of Music $7,000 $8,000 New Zealand School of Music: towards a composer residency Sarah Farrar: to attend the Curatorial Training Ellen Deverall: towards postgraduate clarinet $25,000 Programme at De Appel Contemporary Art study Centre, Amsterdam $8,000 $10,000 New Zealand Secondary Students’ Choir: towards its annual programme Gamelan Padhang Moncar: towards attending $26,900 William Hsu: to participate in the 14th annual the 12th Yogyakarta Gamelan Festival Stazione di Topolo in Italy $5,000 $5,940 Opera Factory Trust: towards appointing a guest musical director Leah Johnston: towards postgraduate violin $25,000 McCahon House Trust: towards two artists in studies at the Royal College of Music. This residence at McCahon House $10,000 Xenia Pestova: towards attending the Shakespeare Globe Centre New Zealand Inc and Dogbird Ltd: towards creating and presenting a Stockhausen Course in Kürten, Germany Kirsty Hamilton: towards Kirsty Hamilton new installation, “The Sic Room” $3,700 attending masterclasses at the Globe Theatre, $38,000 London $3,100 Anthony Ritchie and Michelanne Forster: Java Dance Company: towards creating and towards workshopping selected new opera scenes presenting a new work, “Swap”, with the Vector $9,000 Shakespeare Globe Centre NZ Inc and Rawiri Wellington Orchestra Paratene: towards Rawiri Paratene attending $8,000 Colleen Trenwith: towards studies at East masterclasses at the Globe Theatre, London $3,100 Tennessee State University, United States Michael Parmenter: towards the musical score $8,000 and set for a new work, “Tent”, to be presented The Clinic: towards developing a new work, with Footnote Dance Company THEATRE “Love You Approximately” $5,000 $35,320 A Different Light Theatre Trust: towards developing a new work, “The Sunnyside Project” Touch Compass Dance Trust: towards creating $17,000 The SEEyD Theatre Company: towards and presenting a new work, “The Feast” commissioning and researching five new works $87,000 THEATRE $36,000 FINE ARTS Sean Coyle: towards travel to attend PQ07 in Raewyn Turner: towards travel costs to attend Prague with the BLOW exhibition Art & Industry Biennial Trust: towards the new PQ07 and conduct research in France $4,000 work component of SCAPE 2008 $4,000 $82,500 F & F Productions: towards final development of John Verryt: towards travel to attend PQ07, “Follow Your Nose” Fiona Clark: towards creating an online gallery/ Prague and Cottesloe Theatre, London $43,640 forum as an extension of the “Taranaki Vista” $6,100 project $12,000 Pip Hall: towards workshop development and Elizabeth Whiting: towards travel to attend presentation of “The Woman Who Loved A PQ07 in Prague with the BLOW exhibition Mountain” at the 2007 Taranaki Festival of the Simon Ingram: towards creating a series of $4,000 Arts telephone painting machines $12,410 $9,400 Arts Board: New Work Lucky Lucky Ltd: towards the creative CRAF T/OBJECT ART Ryan Moore: towards a collaborative artists’ development process for “Very Talented People” book project $25,235 Vivien Caughley: to undertake new and original $11,080 writing and research on New Zealand samplers $37,340 Massive Company: towards commissioning Seung Oh: towards creating a new body of work $15,300 Albert Beltz to write and workshop a new work, “Whero’s New Net” Richard Stratton: towards creating a new body of LITERATURE $25,800 work $8,000 Hinemoana Baker: towards writing a collection Paul Maunder: towards travel to attend DANCE of poetry Grotowski Institute’s Atelier in Wroclaw, Poland $15,000 $2,499 Atamira Dance Collective: towards creating and presenting “Whakairo” Ben Brown: towards writing a book of non- $70,000 John E Parker: towards travel to attend PQ07 in fiction Prague with the BLOW exhibition $18,000 $4,000 coldharbourDANCE: towards creating and presenting a new work, “Women & Honour Chris Else: towards writing a novel Kane Parsons: towards mentoring fees for Notes on Lying” $18,000 $43,000 Laughton Pattrick $1,000 Gerry Evans: towards writing a biography of Dance and Physical Theatre Trust: towards Noel Hilliard Gareth Reeves: towards developing a new solo creating and presenting two new works at The $18,000 theatre work, “Undiscovered Country” Body Festival 2007 $10,260 $45,000 Fiona Farrell: towards writing a novel $36,000 2 International Institute of Modern Letters: MUSIC John Young: to record “Arrivederci” towards the 2008 Victoria University Creative $3,900 New Zealand writer-in-residence programme Brass Bands Association of New Zealand Inc: to $26,500 commission Gareth Farr to write a new work for THEATRE the National Band of New Zealand $4,400 Jonathon Hendry: towards Dean Parker’s Matt Johnson: towards writing a novel adaptation of Nicky Hager’s book, “The Hollow $8,900 Men”, plus rehearsal and presentation costs at Anna Coddington: towards recording a solo BATS Theatre album $38,000 Jack Lasenby: towards writing a children’s novel $15,000 $10,000 Indian Ink Theatre Company: towards Doctor Quirky’s Goodtime Emporium Band: to Graeme Lay: towards writing a work of non- developing and rehearsing “The Dentist’s record an album of new work fiction $6,550 Chair”, and the premiere season in Hamilton, $18,000 Tauranga, New Plymouth and Napier $96,500 Richard Haynes: to commission a work for Mary McCallum: towards writing a novel. This clarinet and ensemble by Jeroen Speak Willow Productions: towards developing a script includes $3,800 for the Louis Johnson Writers’ $9,000 Bursary. for “Cynthia Fortitude’s First Concert” by $18,000 Michael Vinten Rosie Langabeer: to record an album of music by $15,500 Rosie Langabeer Emma Neale: towards writing a novel $15,000 $18,000 Screen Innovation New Zealand Trio: to commission a work for Joanna Orwin: towards writing a novel for young piano trio by Eve de Castro-Robinson Production Fund adults $6,000 $18,000 The Screen Innovation Production Fund is a Rattle Records Ltd: towards recording an album partnership between Creative New Zealand Geoff Park: towards writing a book on the of chamber music by John Psathas and the New Zealand Film Commission. history of wilderness preservation $7,000 Creative New Zealand’s contribution is $35,150 funded through the Arts Board. Caitlin Smith: towards recording a CD of MOVING IMAGE Richard Reeve: towards completing two poetry original music projects $15,000 Paul Amlehn: towards production of an $10,000 experimental film $15,000 Starbelly Productions Ltd: to record an album of University of Otago College of Education: original music towards its 2008 writer-in-residence programme $15,000 Belmont Productions Ltd: towards production of $10,000 a dance film $18,000 Strike Percussion Ltd: towards commissioning a University of Waikato: towards its 2008 writer- full-length stage show in-residence programme $28,000 Big Girls Blouse and Meshell Edgecombe: $22,500 towards production of a documentary $22,180 MULTI-DISCIPLINARY Chris D Watson: to compose a work for Arnold Marinissen and Marco Roosink Fringe Arts Trust: towards the kakano $3,600 Sandy Crichton: towards post-production
Recommended publications
  • A Survey of Recent New Zealand Writing TREVOR REEVES
    A Survey of Recent New Zealand Writing TREVOR REEVES O achieve any depth or spread in an article attempt• ing to cover the whole gamut of New Zealand writing * must be deemed to be a New Zealand madman's dream, but I wonder if it would be so difficult for people overseas, particularly in other parts of the Commonwealth. It would appear to them, perhaps, that two or three rather good poets have emerged from these islands. So good, in fact, that their appearance in any anthology of Common• wealth poetry would make for a matter of rather pleasurable comment and would certainly not lower the general stand• ard of the book. I'll come back to these two or three poets presently, but let us first consider the question of New Zealand's prose writers. Ah yes, we have, or had, Kath• erine Mansfield, who died exactly fifty years ago. Her work is legendary — her Collected Stories (Constable) goes from reprint to reprint, and indeed, pirate printings are being shovelled off to the priting mills now that her fifty year copyright protection has run out. But Katherine Mansfield never was a "New Zealand writer" as such. She left early in the piece. But how did later writers fare, internationally speaking? It was Janet Frame who first wrote the long awaited "New Zealand Novel." Owls Do Cry was published in 1957. A rather cruel but incisive novel, about herself (everyone has one good novel in them), it centred on her own childhood experiences in Oamaru, a small town eighty miles north of Dunedin -— a town in which rough farmers drove sheep-shit-smelling American V-8 jalopies inexpertly down the main drag — where the local "bikies" as they are now called, grouped in vociferous RECENT NEW ZEALAND WRITING 17 bunches outside the corner milk bar.
    [Show full text]
  • Annual Report 2008
    A VOICE THAT SPEAKS FOR ALL ANNUAL REPORT 2007-2008 NEW ZEALANDERS RADIO NEW ZEALAND Contents Chairman’s REPORT•••••••••••••••••••••••••••••••••••• 2 CHIEF EXECUTIVE REPORT••••••••••••••••••••••••••••• 10 BOARD OF GOVERNORS•••••••••••••••••••••••••••••••••• 5 PERFORMANCE MANAGEMENT•••••••••••••••••••••••• 14 OUR CHARTER••••••••••••••••••••••••••••••••••••••••••• 6 FINANCIAL PERFORMANCE•••••••••••••••••••••••••••• 34 OUR PERFORMANCE BASED ON PubLIC VALUE AND DIRECTORY• ••••••••••••••••••••••••••••••••••••••••••• 72 OUR CHARTER OBJECTIVES•••••••••••••••••••••••••••••• 7 GOOD EMPLOYER AND EQUAL EMPLOYMENT OPPORTUNITIES REPORTING•••••••••••••••••••••••••••• 8 SOUNDS LIKE US. 1 “As an independent and commercial-free public service broadcaster, the purpose of Radio New Zealand is to serve the public interest.” Chairman’s Report Chairman’s BRIAN CORBAN QSO – Chairman INTRODUCTION However, rising costs are now threatening the gains made in recent As an independent and commercial-free public service broadcaster, years and we have been forced to shift our strategic focus towards Radio New Zealand’s purpose is to serve the public interest, and the ensuring the sustainability of both the range and quality of Radio ongoing protection of public service broadcasting values remains of New Zealand’s current services. critical importance to us all. During the course of the 2007-2008 financial year, independent New Zealand is justifiably proud of its unique national identity, consultants conducted a comprehensive Baseline Funding Review to particularly the shared sense of belonging and evolving cultural values determine the level of funding required to maintain Radio New Zealand that bring us together and contribute to our sense of self. services at their current levels. Awareness and preservation of that shared culture are critical factors The results of that review will inform future funding discussions with in sustaining a unique New Zealand identity and a strong, independent Shareholding Ministers.
    [Show full text]
  • New Zealand Works for Contrabassoon
    Hayley Elizabeth Roud 300220780 NZSM596 Supervisor- Professor Donald Maurice Master of Musical Arts Exegesis 10 December 2010 New Zealand Works for Contrabassoon Contents 1 Introduction 3 2.1 History of the contrabassoon in the international context 3 Development of the instrument 3 Contrabassoonists 9 2.2 History of the contrabassoon in the New Zealand context 10 3 Selected New Zealand repertoire 16 Composers: 3.1 Bryony Jagger 16 3.2 Michael Norris 20 3.3 Chris Adams 26 3.4 Tristan Carter 31 3.5 Natalie Matias 35 4 Summary 38 Appendix A 39 Appendix B 45 Appendix C 47 Appendix D 54 Glossary 55 Bibliography 68 Hayley Roud, 300220780, New Zealand Works for Contrabassoon, 2010 3 Introduction The contrabassoon is seldom thought of as a solo instrument. Throughout the long history of contra- register double-reed instruments the assumed role has been to provide a foundation for the wind chord, along the same line as the double bass does for the strings. Due to the scale of these instruments - close to six metres in acoustic length, to reach the subcontra B flat’’, an octave below the bassoon’s lowest note, B flat’ - they have always been difficult and expensive to build, difficult to play, and often unsatisfactory in evenness of scale and dynamic range, and thus instruments and performers are relatively rare. Given this bleak outlook it is unusual to find a number of works written for solo contrabassoon by New Zealand composers. This exegesis considers the development of contra-register double-reed instruments both internationally and within New Zealand, and studies five works by New Zealand composers for solo contrabassoon, illuminating what it was that led them to compose for an instrument that has been described as the 'step-child' or 'Cinderella' of both the wind chord and instrument makers.
    [Show full text]
  • APO Annual Report 2017
    AUCKLAND PHILHARMONIA ORCHESTRA 2017 ANNUAL REPORT AUCKLAND PHILHARMONIA ORCHESTRA Auckland Philharmonia Orchestra is New Zealand’s full-time professional Metropolitan CONTENTS orchestra, serving Auckland’s communities with a comprehensive programme of concerts and education and outreach activities. Chairman’s Report 1 In more than 70 self-presented performances annually, the Chief Executive’s Report 2 APO presents a full season of symphonic work showcasing Premieres in 2017 4 many of the world’s finest classical musicians. Renowned for its innovation, passion and versatility, the APO collaborates with New Zealand Artists Performing some of New Zealand’s most inventive contemporary artists. with the APO in 2017 4 Artistic and Performance Highlights 6 The APO is proud to support both New Zealand Opera and the Royal New Zealand Ballet in their Auckland performances. It Marketing and Sales 7 also works in partnership with Auckland Arts Festival, the New APO Connecting 8 Zealand International Film Festival, the Michael Hill International Violin Competition and Auckland War Memorial Museum, among Business Partnerships other organisations. and Development 10 Through its numerous APO Connecting (education, outreach APO Musicians, Management, and community) initiatives the APO offers opportunities to Board and Support Organisations 11 more than 27,000 young people and adults nationwide to Financial Overview 12 engage with and participate in music activities ranging from hip-hop and rock to contemporary and classical. APO Financial Statements 13 APO Funders, Donors More than 250,000 people worldwide experience the orchestra and Supporters 41 live each year with many thousands more reached through recordings, broadcasts and other media. APO Sponsors 45 COVER IMAGE: Steven Logan, Principal Timpanist and Eric Renick, Principal Percussionist (Photo: Adrian Malloch) CHAIRMAN’S REPORT It is my pleasure to report on 2017 on behalf of the Auckland Philharmonia Orchestra Board, a year of exciting new opportunities for the orchestra.
    [Show full text]
  • Ur Composers
    UR COMPOSERS Douglas Lilburn described as “the of Takaka. It then travelled via Seoul, academic Dr. Suzanne Court and are elder statesman of New Zealand Beijing and Tokyo to end up in published by Pro Arte Publications in a music” and the “grandfather of New Wellington. I was lucky enough to have collection of guitar works by New Zealand music”, died peacefully at his been the piece’s travelling companion Zealand composers called Guitar home in Wellington on 6th June 2001. for most of the way. This particular Aotearoa. Douglas Lilburn composed his journey has been integral to my Seventeen Pieces for Guitar between personal musical development as it “MATARIKI” SUITE FOR GUITAR 1962 and 1970 for local guitarist taught me all sorts of valuable lessons (2005) Ronald Burt. They are amongst the relating to music. If a musical problem World Premiere last of his works for acoustic was too difficult to solve I would leave Introduction instruments and can be heard as it for a while, sometimes over a period Tapuanuku providing a transition to his works in of months, before a solution was Tapuarangi the electronic medium. He also drew found. Sometimes this answer took Waiti Michael Hogan (b. 1971) inspiration from earlier works: No. 2 is hours of hard graft, but mostly it would Waita based on the penultimate song in his unravel of it’s own accord. In these Waipunarangi cycle Sings Harry to words by NZ poet months of not working on Homage I Ururangi Denis Glover: feel that I grew musically, obtaining MICHAEL HOGAN (b.
    [Show full text]
  • With Matthew Barley & Stephen De Pledge
    1 Chamber Music New Zealand Supported by with Matthew Barley & Stephen De Pledge 2 Chamber Music New Zealand “The Ébène foursome animated an entire universe.” – Bachtrack QUATUOR ÉBÈNE 25 & 26 October chambermusic.co.nz/ebene Tēnā koutou Viktoria Mullova is one of her generation’s most breath-taking violinists, whose versatile musical world stretches right across the genres, from classical to jazz and world music. We are to be treated to Viktoria Mullova’s exquisite violin playing within the intimacy of the piano trio, where she performs with her husband, cellist Matthew Barley and long-time collaborator, one of New Zealand’s favourite pianists, Stephen De Pledge. Their programme is drawn from the cornerstones of the repertoire - the impassioned masterpiece of Schubert’s Trio in E flat followed in the second half by the heartfelt and sensual sonorities in Ravel’s Trio in A Minor, I am sure this will be an evening to remember. The CMNZ commission of a new work by Salina Fisher ‘Mono no aware’ for cello and piano is generously supported by Prof. Jack C Richards and received its world premiere at the Melbourne Recital Centre ahead of the CMNZ tour. I’m thrilled that a brand-new New Zealand work has been internationally showcased in this way. I would like to thank the Turnovsky Endowment Trust, who are the generous supporters of the Wellington concert. Catherine Gibson Chief Executive Chamber Music New Zealand 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.
    [Show full text]
  • LYELL CRESSWELL Red Note MUSIC for STRING QUARTET Ensemble Capricci Ricercari
    LYELL CRESSWELL Red Note MUSIC FOR STRING QUARTET Ensemble Capricci Ricercari 1 Bergamasca [1:44] 11 Invocazione (variation 1) [1:38] LYELL CRESSWELL 2 Xochipilli [2:02] 12 Scherzo 1 [1:24] 3 Siciliana [2:06] 13 Pensoso (variation 2) [2:47] (b. 1944) 4 Zortziko [2:14] 14 Caccia 1 [1:19] 5 Galop [1:50] 15 Mesto (variation 3) [1:34] MUSIC FOR STRING QUARTET 6 Sprocket [1:44] 16 Caccia 2 [1:21] 7 Taramasonata [2:26] 17 Alla turca (variation 4) [2:41] Red Note Jacqueline Shave violin 1 8 Fandango [1:09] 18 Scherzo 2 [1:28] Ensemble Tom Hankey violin 2 9 Brawl [2:32] 19 Ruvido (variation 5) [2:06] Paul Cassidy viola 10 Courante [1:50] Robert Irvine cello String Quartet Capricci was commissioned by Dr Ian McKee and dedicated to 20 I [8:16] Penny McKee on her birthday. 21 II [6:48] 22 III [6:44] Kotetetete 23 I Mormorante [2:44] Total playing time [60:37] Recorded on 14-16 March 2017 at Cover image: Michael Smither (b. 1939), Join the Delphian mailing list: St Mary’s Parish Church, Haddington Cellist (oil on board, 200 × 240 mm) www.delphianrecords.co.uk/join Producer/Engineer: Paul Baxter Session photography © Delphian Records 24-bit digital editing: Matthew Swan Design: John Christ Like us on Facebook: 24-bit digital mastering: Paul Baxter Booklet editor: John Fallas www.facebook.com/delphianrecords Delphian Records Ltd – Edinburgh – UK www.delphianrecords.co.uk Follow us on Twitter: @delphianrecords premiere recordings Notes on the music ‘When I write music I am writing my and Glasgow, five years in total, and he has myself as British, and I don’t think my music how you treat the instruments and how you autobiography.
    [Show full text]
  • From Dwelling to Destination: on New Zealand’S House Museums
    ♥ Art Literature Theatre Music Screen Society Loose Canons Knockouts News Videos Events Art 20.07.2018 From Dwelling to Destination: On New Zealand’s House Museums By Sebastian Clarke Sebastian Clarke on the character and reputation of our most idiosyncratic institutions. I will eschew any suspense and begin with an admission: I’m a hound for house museums. I seek out these introspective havens peppered throughout Aotearoa with great fervour. My self-appointed role as loyal advocate for our house museums emerged not by epiphany, but thanks to a scratchy, woven basket. Said basket resides in Nelson’s Isel House, a dollhouse of a building that greets visitors with a full face of hand-shaped local boulders sweetly framed by slim, red bricks. It may be the most unremarkable item in a house abounding in extravagant furniture and Sèvres porcelain, but from its upstairs station, this basket looks out to the parkland that embraces Isel House. Wood splints are collected from the park, planted by the house’s first resident, to make baskets like the one that refuses to be erased from my memory. This basket glows with a fiercely local provenance, and reminds me that experiencing interior spaces and objects so soaked in history is like time-travel – magic. However, as I encounter more of these memory palaces, buildings so rapt with the past, I cannot help but wonder about their precarious future. Image courtesy Ngaio Marsh House Trust. The straightforward term ‘house museum’ describes, in correct order, a transformation from dwelling to destination. A trigger for us to reread the rooms.
    [Show full text]
  • Introduction: “A Refusal to Read”
    ka mate ka ora: a new zealand journal of poetry and poetics Issue 1 2005 “BY WRITING AND EXAMPLE”: THE BAXTER EFFECT John Newton Introduction: fame and “folk” When James K. Baxter left the literary straight-and-narrow to immerse himself in the Jerusalem commune — in a process which transformed him into a media icon who for many may be only incidentally a writer — he created a problem which our literary culture has not yet remotely assimilated. The Baxter of the Jerusalem era achieved what for a New Zealand poet remains unrivalled celebrity. And in this self-reinvention he discovered a path, if not precisely in his poetry then through it, to the public vocation to which he had always aspired. The poet emerges as a social activist. The writings that record this transformation have been well enough received; beginning with Karl Stead in his influential Islands essay of 1973, plenty of readers have been glad to affirm the Jerusalem poetry as his crowning achievement.1 The extent of his popular exposure, however, is apt to be viewed as an irritant and a distraction. For instance Stead writes: “A haze of undiscriminating feeling surrounds Baxter . To the young . he has become a culture hero, and if his poems were much less remarkable than they are I suspect his youthful disciples would not know it and would admire them quite as much.”2 Meanwhile, in literary circles at least, the activism itself has gone largely unanalysed, sidelined in deference to what his biographer Frank McKay calls the more “lasting fruit” of his poetry and prose.3 This ambivalent response to late Baxter was rehearsed at the time of the poet’s death by his one-time sponsor, Allen Curnow: 11 A Refusal to Read Poems of James K.
    [Show full text]
  • The Quest for the Long White Whale: Nature Imagery in New Zealand Classical Music
    THE QUEST FOR THE LONG WHITE WHALE: NATURE IMAGERY IN NEW ZEALAND CLASSICAL MUSIC Peter Beatson [An earlier version of this article appeared in Sites 22:34-53, 1991, and was reprinted with illustrations the following year in Canzona.] INTRODUCTION This article weaves together three intertwining threads. Firstly and most importantly, it is intended as a modest contribution to the academic study of New Zealand classical music. For a very small country, we have an impressive line-up of composers, of whom 105 are listed in John Mansfield Thomson's 1990 Biographical Dictionary of New Zealand Composers, yet the discursive content of their work receives far less analytical attention in sites of intellectual discourse than their literary colleagues. The present article is not intended as anything like a total survey, but I have attempted in its course to introduce the names of a significant number of composers and their works to indicate in purely quantitative terms the size of this rather under-valued component of our national culture. Here, then, is the first thread: putting it simply, I just wanted to write something about New Zealand classical music! However, that initial impulse was a little too vague, inchoate and open-ended. To limit the field, and to give the discussion manageable structure and direction, I made the strategic decision to focus on just one theme, namely the ways in which the natural world is represented in our national music. I will therefore not be discussing self-referential, abstract music with no aspirations to be anything other than a sonata, quartet, symphony or whatever, nor programmatic works (such as operas and songs) with subjects other than nature.
    [Show full text]
  • Apo-Season-Brochure-2017 Digital
    PO Box 7083 Wellesley St Auckland 1141 Phone (09) 638 6266 Fax (09) 623 5629 Ticket Offi ce (09) 623 1052 apo @ apo.co.nz apo.co.nz facebook.com/aporchestra @aporchestra aporchestra Auckland Philharmonia Orchestra is New Zealand’s full-time professional Metropolitan orchestra, serving Auckland’s communities with a comprehensive programme of concerts and education and outreach activities. In more than 50 mainstage performances annually, the APO presents a full season of symphonic work showcasing many of the world’s finest classical musicians. Renowned for its innovation, passion and versatility, the APO collaborates with some of New Zealand’s most inventive contemporary artists. The APO is proud to support both New Zealand Opera and the Royal New Zealand Ballet in their Auckland performances. It also works in partnership with Auckland Arts Festival, the New Zealand International Film Festival, the Michael Hill International Violin Competition and Atamira Dance Company, among other organisations. Through its numerous APO Connecting (education, outreach and community) initiatives the APO offers opportunities to more than 20,000 young people and adults nationwide to participate in music activities ranging from hip-hop and rock to contemporary and classical. More than 100,000 people hear the orchestra live each year, with many thousands more reached through special events, recordings, live streams and other media. Photography Design Official broadcast partner of the APO Adrian Malloch Ross Brown Tony Brownjohn Layout & print management Sabine Schwarz Paper sponsor Copywriting Brochure printed on Tauro Offset 100gsm; Alastair McKean cover Tauro Offset 300gsm 2 CONTENTS WELCOME 02 / WHAT’S EXCITING 04 THE NEW ZEALAND HERALD PREMIER SERIES 06 BAYLEYS GREAT CLASSICS 12 / NEWSTALK ZB SERIES 16 APO ON THE SHORE 21 / MANON LESCAUT 22 A GRAND DAY OUT AT GIBBS FARM 24 / TAN DUN 25 UNWRAP THE MUSIC 26 / IN YOUR NEIGHBOURHOOD 29 RAIDERS OF THE LOST ARK 30 / AWA – WHEN TWO RIVERS COLLIDE 31 DELOITTE SUMMER SALON – BROADWAY 32 / BOWIE.
    [Show full text]
  • Galleryshop @Ccc.Govt.Nz Education Bookings Email
    The Gallery is currently closed to the public. GALLERY SHOP FRIENDS OF CHRISTCHURCH Our off-site exhibition spaces are at 212 Tel: (+64 3) 941 7370 ART GALLERY Madras Street and 209 Tuam Street. The Email: galleryshop Tel: (+64 3) 941 7356 Gallery Shop is now open at 40 Lichfield @ccc.govt.nz Email: [email protected] Street. EDUCATION BOOKINGS CHRISTCHURCH ART CHRISTCHURCH ART GALLERY Email: artgallery.schools GALLERY TRUST TE PUNA O WAIWHETU @ccc.govt.nz Tel: (+64 3) 353 4352 Cnr Worcester Boulevard and Montreal Street, PO Box 2626, Christchurch 8140, New Zealand Tel: (+64 3) 941 7300 Fax: (+64 3) 941 7301 www.christchurchartgallery.org.nz Email: [email protected] B.171 EDITOR Bulletin Autumn DAVID SIMPSON Christchurch Art Gallery March— Te Puna o Waiwhetu May 2013 GALLERY CONTRIBUTORS DIRECTOR: JENNY HARPER CURATORIAL TEAM: KEN HALL, FELICITY MILBURN, JUSTIN PATON, PETER VANGIONI PUBLIC PROGRAMMES: LANA COLES PHOTOGRAPHER: JOHN COLLIE OTHER CONTRIBUTORS dudley benson, MICHAEL LASCARIDES, LEE STICKELLS, JOHN WARD KNOX TEL: (+64 3) 941 7300 FAX: (+64 3) 941 7301 EMAIL: [email protected], [email protected] PLEASE SEE THE BACK COVER FOR MORE DETAILS. WE WELCOME YOUR FEEDBACK AND SUGGESTIONS FOR FUTURE ARTICLES. CURRENT DIRECT SPONSORS OF THE GALLERY CHARTWELL TRUST CHRISTCHURCH ART GALLERY TRUST CHRISTCHURCH CITY COUNCIL CREATIVE NEW ZEALAND EDENLITE GLASSHOUSES FRIENDS OF CHRISTCHURCH ART GALLERY GABRIELLE TASMAN GIESEN WINES MITSUBISHI ELECTRIC SPECTRUM PRINT STRATEGY DESIGN AND ADVERTISING THE PRESS
    [Show full text]