JUILLIARD415 Touring NZ: 27 February - 13 March

Core Funder VOCES84–10 July Prepare yourself for the exceptionally smooth sounds of VOCES8 as they take you on an acoustic tour of cathedrals throughout NZ.

chambermusic.co.nz/voces8 Baroque Invention: A Tale of Two Countries

HANDEL Overture to Agrippina Page 15 MARAIS Dances from Sémélé Page 16 VIVALDI Concerto for flute, op 20, no 2, RV 439 (“La notte”) Page 17 MUFFAT Sonata V in G major from Armonico tributo Page 18

—interval—

CORELLI Concerto grosso in D major, op 6, no 7 Page 19 GILLIAN WHITEHEAD time steps out of line Page 20 RAMEAU Suite from Dardanus Page 21

95 minutes including interval

Thu 27 Feb, 7.30pm | Gallagher Academy of Performing Arts, Hamilton Fri 28 Feb, 7.30pm | Holy Trinity Cathedral, Auckland Mon 2 Mar, 7.30pm | 4th Wall Theatre, New Plymouth Tue 3 Mar, 7.30pm | The Globe, Palmerston North Thu 5 Mar, 7.30pm | MTG Century Theatre, Napier Sat 7 Mar, 7.30pm | Salvation Army Citadel, Wellington Mon 9 Mar, 7.30pm | Nelson Centre for Musical Arts Tue 10 Mar, 7.30pm | The Piano, Christchurch Thu 12 Mar, 7.30pm | Glenroy Auditorium, Dunedin Fri 13 Mar, 7.30pm | Civic Theatre, Invercargill

*Presented in association with The Juilliard School through the generous support of Sarah Billinghurst Solomon. Programme notes by Kate Gerrard and Robert Mealy.

The Auckland concert is being recorded for later broadcast by RNZ Concert TĒNĀ KOUTOU

What better way to open the 2020 of a number of people and concert season than in celebration organisations including Pub Charity. of the musical virtuosity and Travelling round the country youthful exuberance of Juilliard415, with Juilliard415 is a beautiful directed by renowned Baroque Rubio harpsichord generously music exponent, violinist Robert provided by the New Zealand Mealy. This is Juilliard415’s second School of Music, Victoria University tour for CMNZ and just as eagerly of Wellington and a double anticipated as the first—with the bass kindly loaned by Richard added pleasure of welcoming Hardie. I would also like to thank back those who have become Interislander for assisting with the our friends and those who will crossing of the Cook Strait. become so. The association with The Juilliard In a programme that celebrates School is one we truly value and both the old world and new, I would like to thank Benjamin Italian and French Baroque Sosland, the Administrative Director traditions will be uncovered of the Historical Performance alongside the premiere of a brand programme for his assistance in the new work written for Juilliard415 planning and execution of the tour. by New Zealand’s Arts Laureate, To our international performers— Dame Gillian Whitehead, aptly titled welcome! And to our audiences time steps out of line. The creation all around the country, please do of this new work was made enjoy this very special musical possible through the generous experience. support of an anonymous donor.

This epic tour is quite an undertaking for CMNZ and musicians alike and would not be possible without the support Catherine Gibson Chief Executive Chamber Music New Zealand A MESSAGE FROM BENJAMIN SOSLAND

When I learned that Juilliard415 of music, written just for us, would be returning to this by the esteemed Dame Gillian gorgeous country on the other Whitehead. Talk about rolling out side of the world from us, I the red carpet! It is a true honor was giddy with joy. The great to share the music we love with memories we have from our first you. This music, which highlights tour are imprinted in our memories the invention and virtuosity of forever. Flat whites! Charming the Italian and French Baroque accents! Sheep! But above all, traditions, lives on because of it’s the people I remember: the talent and commitment of the openness and flexibility of our extraordinary students—and our CMNZ colleagues and the because you are here to receive it. enthusiasm of the audiences who We hope you find, as we do, that cheered us on at every stop. this music speaks to us as vibrantly Despite being so far away and directly today as it must have from our home in the heart of when it was heard for the very Manhattan, the hospitality and first time so many years ago. What warmth showered on us makes a great reminder of music’s power us feel very much like we belong to supersede the barriers of time here. And imagine the privilege and geography. What a great of premiering a brand-new piece reminder of music’s power to bring us together.

Benjamin Sosland Administrative Director Juilliard Historical Performance

Juilliard415 1 JUILLIARD HISTORICAL PERFORMANCE

Juilliard’s full-scholarship Historical field. Frequent collaborations Performance program offers with Juilliard’s Ellen and James S. comprehensive study and Marcus Institute for Vocal Arts, the performance of music from the integration of modern-instrument 17th and 18th centuries on period majors outside of the Historical instruments. Established and Performance program, and endowed in 2009 by the generous national and international tours support of Bruce and Suzie Kovner, have introduced new repertoires the program is open to candidates and increased awareness of for the Master of Music, Graduate historical performance practice Diploma, and Doctor of Musical at Juilliard and beyond. Alumni of Arts degrees. A high-profile Juilliard Historical Performance are concert season of opera, members of many of the leading orchestral, and chamber music is period-instrument ensembles, augmented by a performance- including the Portland Baroque oriented curriculum that fosters Orchestra, Les Arts Florissants, an informed understanding of the Mercury, and Tafelmusik, as well many issues unique to period- as launching such new ensembles instrument performance at the as the Sebastians, House of Time, level of technical excellence New York Baroque Incorporated, and musical integrity for which and New Vintage Baroque. Juilliard is renowned. The faculty comprises many of the leading performers and scholars in the

DID YOU KNOW? Juilliard415 is so named because, like many period instrument ensem- bles, they tune to a pitch frequency standard of A=415Hz. The generally agreed standard for modern orchestras/ensembles is between A=440– 442Hz with some even tuning as high as A=445Hz. 5 JUILLIARD415

Celebrating its 10th anniversary the first-ever conservatory in season, Juilliard415, the school’s residence), and 2017’s 10-concert principal period-instrument tour of New Zealand. ensemble, has made significant With its frequent musical contributions to musical life in collaborator, the Yale Institute of New York and beyond, bringing Sacred Music, the ensemble has major figures in the field of early played throughout Scandinavia, music to lead performances of Italy, Japan, Southeast Asia, both rare and canonical works by the U.K., and India. Juilliard415 composers of the 17th and 18th recently made its South American centuries. The many distinguished debut with concerts in Bolivia, guests who have led Juilliard415 a tour sponsored by the U.S. include Harry Bicket, William Department of State. In a Christie, Monica Huggett, Nicholas concert together with the Bach McGegan, Rachel Podger, Jordi Collegium Japan, conducted Savall, and Masaaki Suzuki. by Masaaki Suzuki, Juilliard415 Juilliard415 tours extensively in recently played a historic the U.S. and abroad, having now period-instrument performance performed on five continents, of Mendelssohn’s Elijah at with notable appearances at the Leipzig Gewandhaus in the Boston Early Music Festival, Germany. Previous seasons have Leipzig Bachfest, and Utrecht Early been notable for side-by-side Music Festival (where Juilliard was collaborations with Philharmonia Baroque in San Francisco, as well as concerts directed by such eminent musicians as Ton Koopman, Robert Mealy, Kristian Bezuidenhout, and the late Christopher Hogwood.

Juilliard415 3 Juilliard415, which takes its name Project, a Holy Week concert from the pitch commonly at the Cathedral of St. John the associated with the performance Divine for which the ensemble of Baroque music (A=415), has commissioned seven leading performed major oratorios and composers, including Nico Muhly, Baroque operas every year since Caroline Shaw, and Tania Leon. its founding, including the rare Highlights of the upcoming opportunity to see a fully-staged concert calendar include production of Rameau’s Hippolyte performances with William et Aricie during the 2017-18 season. Christie and Les Arts Florissants During the 2018-19 season, the at the Philharmonie de Paris; ensemble presented Purcell’s Dido Handel’s Rinaldo conducted by and Aeneas at Opera Holland Park Nicholas McGegan in New York in London and the Royal Opera and at the Göttingen Handel House of Versailles. A frequent Festival in Germany; a program of collaborator with Juilliard’s Dance music inspired by Shakespeare, division, Juilliard415 premiered led by Rachel Podger; the new choreography by Juilliard Juilliard415 debut of Pablo dancers in an all-Rameau program Heras-Casado in a program of led by Robert Mealy and teams music from the Spanish Baroque; up again with Juilliard Dance and another side-by-side this season for a new work collaboration with Philharmonia choreographed by Andrea Miller. Baroque in San Francisco. Juilliard415 has had the distinction of premiering new works for period instruments, most recently for its Seven Last Words

4 Chamber Music New Zealand JUILLIARD415

Music director/concertmaster Flute Robert Mealy Kelsey Burnham Taya König-Tarasevich Violin Majka Demcak Oboe Aniela Eddy Matthew Hudgens Natalie Rose Kress Emily Ostrom Edward Li Bassoon Kako Miura Georgeanne Banker Manami Mizumoto Rebecca Nelson Harpsichord Rachel Prendergast David Belkovski Shelby Yamin Theorbo Viola Joshua Stauffer Majka Demcak Hand percussion / Conductor Carolyn Farnand Kyle Ritenauer Natalie Rose Kress Cello Jin Nakamura Juilliard Historical Performance Charlie Reed Administrative Director Sydney ZumMallen Benjamin Sosland Double bass Assistant Administrative Director Markus Lang Rosemary Metcalf

Juilliard415 5 “Our programs are a dialogue between the two main musical languages in the baroque, the French and the Italian styles, focusing on Rome where Corelli was inventing the orchestra in the 1680s and Paris where Lully did the same thing at about the same time. The French pieces explore various dance forms, including everything from brilliant gigues to slow sarabandes, while the Italian works are fiery concertos: a nice contrast of styles!” – Robert Mealy

6 Chamber Music New Zealand MEET THE MUSICIANS

Members of the ensemble answered a few quickfire questions to share a little about themselves: Describe yourself in 3 words. Tell us something interesting about your instrument. Other than music, what else do you like to do? Read on and get to know Juilliard415…

David Belkovski (harpsichord) Aniela Eddy (violin) Hometown: Michigan, USA Homeland: USA and China Over-caffeinated, passionate, Love for others curious My instrument: The baroque My instrument: The oldest instrument that I am currently surviving instrument by Hans playing belongs to Juilliard. I Ruckers, one of the most wanted to play when I was three esteemed harpsichord builders in years old after attending a concert history, was found in Peru(!) in 1916. at the Detroit Symphony Orchestra The instrument dates from 1581. with Itzhak Perlman as soloist. In order to convince my parents that When not playing music, you will I was serious, I pretended to play find me… reading Greek myths or violin by using two sticks. When about the Habsburg empire. And this didn’t work, I proceeded to of course, watching The Office for tell all the neighbors that I was the umpteenth time. getting a violin for my birthday. A few years later, they were finally Majka Demcak (violin & viola) convinced. Hometown: Surrey, British Columbia, Canada When not playing music, you will find me… climbing Ambitious, fun-loving, mountains, being in nature, doing compassionate photography, traveling, and being with friends. My instrument: I am playing on a violin made by J. Brown and a viola made by Viseltear, that looks like the silhouette of Handel’s head. They both have a beautiful sound! When not playing music, you will find me… cooking, knitting, swimming, and going for long walks on snowy days.

Juilliard415 7 Carolyn Farnand (viola) Natalie Rose Kress (violin & viola) Hometown: Ottawa, Canada Hometown: Ambler, Pennsylvania Energetic, dedicated, creative! Goofy, reliable, ambitious My instrument: The bow My instrument: The violin I’m that I am playing with is from playing on belongs to Robert Toronto, Canada (where I did my Mealy and was made by a New bachelor’s)! York maker, Jason Viseltear. What an honor to play one of your When not playing music, you will teacher’s instruments! find me… running outside! When not playing music, you will Taya König-Tarasevich (Baroque find me… travelling and seeing flute) new places. I feel very lucky to get to travel so much with J415! Homeland: Siberia Master of laughter and disaster Edward Li (violin) My instrument: It is an 18th century Hometown: Chengdu, China instrument restored to a baroque Curious, serene, stubborn setup! My instrument: My violin bears When not playing music, you scars from the First World War. will find me… writing and reading poetry, savoring tea, reflecting, When not playing music, you will meditating, hiking, traveling find me… cooking, reading, biking, all over the world, making my and spending time with cats. dreams come true, loving and celebrating life! Kaka Miura (violin) Hometown: Sydney, Australia Always eating food My instrument: Can be used as a cricket bat.

8 Chamber Music New Zealand When not playing music, you will Rebecca Nelson (violin) find me… reading, taking walks with friends, cooking, going to Hometown: Gera, Germany see new music being performed! Rare, shiny, expensive

Manami Mizumoto (violin) My instrument: This 1800 Joannes Gagliano belonged to my mother Hometown: New York City and it has the sweetest sound. Lover of play When not playing music, you will My instrument: Its strings are find me… taking long walks and made of sheep gut, but since drinking tea. I have sweaty hands, I have to buy specially varnished ones so Emi Ostrom (Baroque oboe) they last longer than a day or two Hometown: Columbia, Maryland, (sometimes they still snap within a USA couple of days)! Resourceful, spunky, tenacious When not playing music, you will find me… drinking tea. My instrument: It only has two keys, and no octave key, so you Jin Nakamura (cello) need to focus your air stream to reach the high notes. Hometown: Osaka, Japan Hardworking, chilled, clown When not playing music, you will find me… cooking and reading. My instrument: Originally a modern cello of Stradivarius copy Rachel Prendergast (violin) handmade in Korea. Converted into baroque condition with Hometown: Denver, Colorado shortening the fingerboard, Gets cold easily placing gut strings, and removing the endpin. My instrument: I am playing a violin made by Carlo Antonio When not playing music, you will find me… listening to music.

Juilliard415 9 Testore between 1715 and 1765- My instrument: This bass was likely the second two digits of the year originally a 3-string in the Italian are smudged on the label and classical style (which were much hard to make out. Carlo Antonio more widely used than 4-strings in Testore’s father was a luthier, as the 18th to 19th centuries). It could were his brother and son and also have had frets before, though nephew, so this instrument came it doesn’t currently, hearkening out of a long-standing family back to the double bass’ origins tradition of instrument makers. from the viol family, not the violin family of strings. When not playing music, you will find me… reading and knitting When not playing music, you will socks. find me… reading pulpy novels or giant history tomes, going out Charles Reed (cello) for a drive/walk, watching media Hometown: Ashland, Ohio critiques for TV or movies I have no intention to ever see. Sorry for Trump My instrument: I also play viola Sydney ZumMallen (cello). da gamba, which has frets like a Hometown: San Antonio, Texas guitar, but is played with a bow like a cello. Weird cat lover When not playing music, you will My instrument: It is one of the few find me… reading, mostly classic instruments you get to hold with novels. your legs! When not playing music, you will John Stajduhar (double bass) find me… cooking, baking and Hometown: San Antonia, TX/ hanging out with my cat! Portland, OR Easy-going, reserved, intuitive

10 Chamber Music New Zealand festival performances and eleven Grammy- nominated recordings. The Boston Phoenix remarked of one BEMF production that ‘the most exceptional music came from the pit. Concertmaster Robert Mealy played more music than anyone onstage or off, every measure of it with erudition and compelling energy.’ With the smaller BEMF Chamber ROBERT MEALY Ensemble, he has led many productions of Music Director | Violin chamber operas, including their Grammy- winning recording of Charpentier’s One of America’s leading historical string chamber operas. He has appeared at players, Robert Mealy has been praised for international music festivals from Berkeley to his ‘imagination, taste, subtlety, and daring’ Bremen, and from Melbourne to Edinburgh; by The Boston Globe. The New Yorker he is a regular performer at the summer called him ‘New York’s world-class early festival Les Jardins de William Christie in music violinist’. Thiré, France. Mr. Mealy began exploring early music in A devoted chamber musician, he co high school, first with the Collegium of UC directs the seventeenth-century ensemble Berkeley and then at the Royal College Quicksilver, whose debut recording, Stile of Music in London, where he studied Moderno, was hailed as ‘breakthrough harpsichord and baroque violin. While still re-cording of the year’ by the Huffington an undergraduate at Harvard College, he Post. He was a founding member of the joined the distinguished Canadian baroque Renaissance violin band The King’s Noyse, orchestra Tafelmusik; after graduating he which has made eleven recordings for began performing with Les Arts Florissants. Harmonia Mundi USA. He served for over Since then, he has recorded and toured a decade as an instrumental soloist and with many distinguished early music leader with the Boston Camerata, recording ensembles both here and in Europe, and a wide range of repertoire. Through his served as concertmaster for Masaaki Suzuki, interest in earlier repertories, he cofounded Nicholas McGegan, Helmuth Rilling, Paul the Medieval ensemble Fortune’s Wheel, Agnew, and William Christie, among others. which has appeared at early music festivals He has led ensembles for the Mark Morris throughout the Americas, and at the Dance Company at festivals in New York Cloisters and the Frick Museum in New York. and Moscow, and accompanied Renée Committed to education as well Fleming on the Late Show with David as performing, he directs Juilliard’s Letterman. As a recitalist, he has appeared distinguished Historical Performance at Carnegie Hall, the Smithsonian Museum, Program. From 2003 to 2015, he taught and on series across America. at Yale, directing the postgraduate Yale A frequent leader and soloist in New Baroque Ensemble and the Yale Collegium York, Mr. Mealy is principal concertmaster Musicum. Prior to that, he taught at Harvard at Trinity Wall Street, which recently for over a decade. In 2004, he received completed a full cycle of Bach’s cantatas EMA’s Binkley Award for outstanding and passions. Mr. Mealy is Orchestra teaching and scholarship. Mr. Mealy has Director of the Boston Early Music Festival recorded over 80 CDs on most major labels. Orchestra, and has led them in many He still likes to practice. KYLE RITENAUER Conductor | Percussion Kyle Ritenauer enjoys a many faceted A passionate advocate for contemporary musical career as a conductor, music, Ritenauer regularly collaborates percussionist, and teaching artist in New with composers, resulting in the premiere York City. As a conductor, Ritenauer has of over 55 works over the past six years. had the opportunity to study closely His work in the new music community with legends in the field including led Ritenauer to create the Uptown Maestros Kurt Masur and Leonard Slatkin. Philharmonic, an ensemble dedicated to Most recently, Ritenauer was invited to promoting the music and musicians of today. participate as a fellow in Maestro Slatkin’s Ritenauer owes his foundation as new Manhattan School of Music/Detroit a conductor to the Pierre Monteux Symphony Orchestra Conductors’ Project. School, where he studied with Maestro Ritenauer has worked with the New Michael Jinbo. Ritenauer has also studied Jersey Symphony Orchestra as a cover with Maestro Tito Munoz and Roger conductor. In 2016 he made his Carnegie Nierenberg. Ritenauer is currently studying Hall - Stern Auditorium debut, leading Orchestral Conducting as the Bruno Walter students of the Manhattan School of Music Conducting Fellow at The Juilliard School in performing the orchestral music of with Maestro David Robertson composer Rongxin Peng. BAROQUE INVENTION: A TALE OF TWO COUNTRIES

Like opera, the orchestra was one Italian, represented by some of the of the most enduring inventions most spectacular composers of of the Baroque. And it arose in the time. two cities at about the same The Italian style is marked by time, thanks to two legendary brilliant virtuosity, often at hair- figures. In Paris, Jean-Baptiste Lully raising speeds: one contemporary discovered that the combination remarked how the Italians play of the Violons du roi with the their Adagios slower than you court wind-band would create can possibly imagine, but their an incredibly colourful ensemble Allegros are breathtakingly fast. for his new operas. And in Corelli’s own concerti grossi Rome, Arcangelo Corelli brought create vivid theatrical contrasts together all the local virtuosi to by dramatic alternations of slow perform together in his great and fast, loud and soft, tutti and concerti grossi. Our programmes solo: a chiaroscuro in sound. are a portrait of these two very When Handel came to Rome as a different styles, the French and the young twenty-something virtuoso, he learned Corelli’s arts and

Juilliard415 13 transformed them into something elegance of this style. We close even more spectacular in his Italian our programs with a suite from overtures. We also hear from Dardanus by the great French Corelli’s Venetian contemporary composer Jean-Philippe Rameau, Antonio Vivaldi, who took the whose operas astonished the contrasts of solo and tutti to an Parisians of the eighteenth even more extreme degree in his century. concertos. The goal of our program is to In France, things are more bring the music of the Baroque decorous. At the heart of the to life vividly and persuasively; French style are the subtle and our students are thrilled to have elaborate forms of classic French crossed the world to share their dance: pensive sarabandes, love of this repertoire with you. boisterous gigues, expansive We’re very happy to be adding chaconnes. Dancing was an a contemporary voice of New integral part of every French Zealand to this conversation, in a opera, and our suite from Lully’s new work by Gillian Whitehead Thésée shows off the wit and that is inflected by the rhythms and drive of the music around it. Robert Mealy

14 Chamber Music New Zealand GEORGE FRIDERIC HANDEL (1685–1759) Overture to Agrippina

Handel’s sensational 1709 his earlier works or adapted Venetian opera Agrippina, from other composers). Here composed to a witty and Handel takes the form of the cleverly constructed libretto by French overture (as established the Venetian patrician Cardinal by Lully) and transforms it into Grimani, was a huge success. It something far more theatrical and received 27 performances and spectacular, demanding the same was enthusiastically received with level of incredible virtuosity from cries of ‘Viva il caro Sassone!’ (It his instrumentalists as he does was also the first major instance of from his opera singers. Handel’s lifelong habit of re-using material—of its 55 movements, Duration: 5 minutes 50 of them are recycled from

Juilliard415 15 MARIN MARAIS (1656–1728) Dances from Sémélé Premier Air pour les Ménades: entrée gay Deuxième Air pour les Mesmes: très vif Troisième Air pour les Ménades Chaconne

The sheer spectacle of a large French and Italian musical styles. group of instrumentalists doing Preferring the refined French exactly the same thing at the style, he excelled in developing same time was something in the expressive possibilities of the late seventeenth century Lully’s opera model. Known for that was a very new, and much his exceptionally varied orchestral commented-on aesthetic creation. writing, Marais was one of the A virtuoso viol player, it was in the first to use soloists from within Paris Opéra orchestra under Lully the orchestra. He expected a that Marais received a thorough high level of virtuosity, especially training in orchestral and operatic from the string players, and even composition. Sémélé was Marais’s the basses de violon have their fourth tragédie en musique, turn with the melody. Each of the premiered in 1709. Written within three instrumental airs express the the framework of the Lullian intrinsic nature of the character tradition, unlike Muffat and others dancing them. among his contemporaries, Marais had no interest in blending Duration: 9 minutes

16 Chamber Music New Zealand ANTONIO VIVALDI (1678–1741) Concerto for flute, op 10, no 2, RV 439 (“La notte”) Largo—Allegro—Largo—Allegro Largo Allegro

Flute: Taya König-Tarasevich

One of Vivaldi’s significant an unusual departure from the innovations was his use of a standard three-movement plan. Of descriptive title, programme the 500 or so concertos for various music, music that ‘tells a story’. instruments, almost 350 were for The title La notte—appearing on solo instrument and of those, 18 three of his concertos—conveys were for solo flute. Vivaldi once the simple programme “The boasted to De Brosses that he Night”. This solo concerto for flute ‘could compose a concerto in (1729) is an exact arrangement all its parts more quickly than it of an earlier chamber concerto could be copied’. We know that (before 1722) bearing the same from 1723 to 1729 he was, in fact, descriptive title, but scored for contracted to produce two new flute, two violins, bassoon, and concertos a month; a requirement continuo. Vivaldi’s use of six he fulfilled. It is this substantial movements, all in free form, is contribution to the Baroque concerto that Vivaldi’s name is most associated with now.

Duration: 8 minutes

Juilliard415 17 GEORG MUFFAT (1653–1704) Sonata V in G major from Armonico tributo Allemanda Adagio Fuga Violin 1: Robert Mealy Adagio Violin 2: Rebecca Nelson Passacaglia Cello: Sydney ZumMallen

Muffat was dispatched to Paris as advocates bold Italianisms: ‘at the a ten-year-old to study with Lully direction p all are to play so softly and others, then spent time in the and so tenderly that one barely 1680’s working with Corelli. Muffat hears them, at the direction f with went on to create a fusion of so full a tone from the first note so both French and Italian elements. marked that the listeners are, (as Our suite incorporates pieces it were) left astounded by such from the concerti grossi he wrote vehemence’. The Passacaglia is during his time in Rome, originally very much in the French style; the published in 1682 as a collection theme repeats in rondeau form. of five ‘chamber sonatas’ titled Armonico tributo. Renamed Ausserlesene Instrumental- Music for a 1701 publication, he Duration: 15 minutes rearranged the collection into concerti grossi that contain ‘not only the liveliness and wit drawn from the French wellspring, but also certain profound and unusual affects of the Italian style’. Muffat

18 Chamber Music New Zealand ARCANGELO CORELLI (1653–1713) Concerto grosso in D major, op 6, no 7 Vivace—Allegro—Adagio Allegro Andante largo Allegro Violin 1: Shelby Yamin Violin 2: Manami Mizumoto Vivace Cello: Jin Nakamura

By many accounts, Corelli was works from the early 1680’s with a the first in Italy to insist upon an concertino trio formed by himself, unheard-of level of orchestral second violinist Matteo Fornari, discipline. Domenico Scarlatti his favourite cellist Lulier, and the wrote about the stunning harpsichordist Bernardo Pasquini. effect created by Corelli’s ‘nice These made up the small ensemble management of his band, which played against the larger whose uncommon accuracy of ripieno band: the effect, as his performance gave his concertos protegé Muffat remarks, is that ‘the an amazing effect … their ear is astonished by the contrasts bows should all move exactly of solo and tutti, forte and piano, as together, all up, or all down; so the eye is by the contrasts of light that at his rehearsals, he would and shade.’ immediately stop the band if he discovered one irregular bow’. The best example of this was heard in Corelli’s own concerti Duration: 10 minutes grossi. Although they were only published posthumously (1714), Corelli was performing these

Juilliard415 19 GILLIAN WHITEHEAD (b. 1941) time steps out of line

Conductor: Kyle Ritenauer

This new work by Dame Gillian Whitehead is commissioned by CMNZ with the support of an anonymous donor.

‘Writing for a baroque ensemble the time. While writing I found today is a very different challenge suggestions of harmony from from that facing the composers other eras were creeping into the of the Baroque, who were fabric of the piece, occasionally discovering the possibilities and explicitly, usually more subtly, sonorities and delights of their perhaps suggesting a dislocation new evolving medium, producing in time. a perfect and varied repertoire in The title comes from At Home the process. in Antarctica, a poem by In time steps out of line I did not Claire Beynon.’ want to imitate the music of the baroque era, and decided to give Gillian Whitehead solo roles to some instruments, particularly the wind, less featured as soloists in the ensembles of Duration: 10 minutes

20 Chamber Music New Zealand JEAN-PHILIPPE RAMEAU (1683–1764) Suite from Dardanus Ouverture Rigaudons I & II Air pour les Plaisirs Sommeil Air Gracieux Gavotte Vive Tambourins I & II Chaconne

A near-exact contemporary of pleasures of sheer rhythmic Bach and Handel, Rameau’s story propulsion. Over the course of is rather different. He didn’t write his career, Rameau imaginatively his first opera until he was over transformed the French overture. fifty. Dardanus was his second The great chaconnes that end tragédie lyrique, premiered in each opera—the classic form 1739. Like so much of Rameau, of cyclical harmony and order the dances from this opera are restored—become occasions for some of the most addictively remarkable displays of theatrical kinetic music written before gesture in the music. Note Stravinsky. He managed to create particularly the amazing moment astonishingly inventive effects when time stands still, suspended by transforming straightforward in a silent fermata, before returning Baroque dance-forms. The to the deeply consoling theme of gavotte, for example, was one of the opening. Rameau’s favourites: tonight you will hear some very different ones, full of surprising textures. The rustic character of the tambourin and Duration: 20 minutes the rigaudon offer other, earthier

Juilliard415 21 Board Kerrin Vautier CMG (Chair), Hon Chris Finlayson, Quentin Hay, Andreas Heuser, Matthew Savage, Vanessa Doig REGIONAL CONCERTS

Staff KARAKA COLLECTIVE Chief Executive, Catherine Gibson WELLINGTON Sun 29 Mar Artistic Manager, Jack Hobbs Artistic Administrator, Elliot Vaughan TAURANGA Tue 31 Mar Outreach Coordinator, Beckie Lockhart CROMWELL Thu 2 Apr Finance Manager, Yvonne Morrison Operations Coordinator, Rachel Hardie JUN BOUTEREY-ISHIDO Marketing Manager, Will Gaisford ROTORUA Wed 22 Apr Senior Designer, Darcy Woods Ticketing & Database Executive, Laurel Bruce WHANGAREI Sun 26 Apr Content Producer & Comms Executive, Anna van der Leij WHANGANUI Sat 2 May Development Manager, Stephanie Kemp LOWER HUTT Tue 5 May Business & Fundraising Administrator, Rafaela Gaspar RANGIORA Thu 7 May CROMWELL Sat 9 May Branches Auckland: Chair, Roger Reynolds; Concert Manager, Bleau Bustenera MOTUEKA Wed 13 May Hamilton: Chair, Murray Hunt; Concert Manager, Sharon Stephens New Plymouth: Concert Manager, Cathy Martin DARROCH/COWAN DUO Hawke’s Bay: Chair, June Clifford; Concert Manager, Jamie Macphail LOWER HUTT Wed 13 May Manawatu: Chair, Graham Parsons; Concert Manager, Virginia Warbrick WHANGANUI Fri 15 May Wellington: Concert Manager, Rachel Hardie Nelson: Chair, Annette Monti; Concert Manager, Clare Monti KERIKERI Sun 17 May Christchurch: Concert Manager, Jody Keehan TE AWAMUTU Tue 19 May Dunedin: Chair, Terence Dennis; Concert Manager, Richard Dingwall ROTORUA Wed 20 May Southland: Concert Manager, Rosie Stather GISBORNE Sat 23 May TAURANGA Sun 24 May Regional Presenters Marlborough Music Society Inc (Blenheim), Christopher's Classics WANAKA Sat 30 May (Christchurch), Cromwell & Districts Community Arts Council, Geraldine Academy of Performance & Arts, Musica Viva Gisborne, Music Society Eastern Southland (Gore) Arts Far North (Kaitaia), Aroha Music Society (Kerikeri), Chamber Music Hutt Valley, Motueka Music Group, Oamaru Opera House, South Waikato Music Society (Putaruru), Waimakariri Community Arts Council (Rangiora), Rotorua Music Federation, Taihape Music Group, Tauranga Musica Inc, Te Awamutu Music Federation, Upper Hutt Music Society, Waikanae Music Society, Join the conversation Wanaka Concert Society Inc, Chamber Music Wanganui, Warkworth Music Society, Wellington Chamber Music Trust, Whakatane Music Society, Whangarei Music Society. Ngā mihi maioha To all of our generous donors who support CMNZ throughout the year.

Founders' Circle Members Heather Miller Anonymous (1) B Peddie Graeme Edwards Roger Reynolds Joy Kittow Miles Rogers Arnold and Reka Solomons Alison Thomson The Estate of Jenni Caldwell Peter and Kathryn Walls The Estate of Aileen Claridge Tim Wilkinson and Lynette Murdoch The Estate of Dale Densem Anna Wilson The Estate of Walter Freitag Bruce Wilson and Jill White The Estate of Chisne Gunn Ann Wylie The Estate of Warwick Gordon Harris Trio The Estate of Joan Kerr Anonymous (10) The Estate of Monica Taylor Philippa Bates Ensemble Sarah Buist Anonymous (1) Bernard and Kay Card Kaye and Maurice Clark Roger Christmas Peter and Carolyn Diessl Anne Cloonan Professor Jack C Richards Hamish Elliott Tom and Kay Farrar Octet Laurie Greig Jane Kominik Anne Hargreaves The Lyons Family - in memory of Ian Lyons Jan Larsen Kerrin and Noel Vautier Caroline List Quintet AE McAloon Joy Clark Margaret Nielsen Collin Post Judith Potter Arnold and Reka Solomons Rory Sherlock David Zwartz John and Kathryn Sinclair Mary Smit Quartet Ann Trotter Anonymous (1) Judith Trotter Roger and Joanna Booth Patricia Unger John Boscawen Rick and Lorraine Christie Donald Cullington Key Jonathan Cweorth Founders’ Circle Members have included a gift to Paul and Sheryl Baines CMNZ in their will. Belinda Galbraith Ensemble: $10,000+ Dame Jenny Gibbs Octet: $5,000 - $9,999 Catherine and Pat Gibson Quintet: $2,500 - $4,999 Peter and Annabel Graham Quartet: $1,000 - $2,499 David and Heather Hutton Trio: $500 - $999 Linda MacFarlane Elizabeth McLeay The above list includes donations between October 2018 and January 2020 A special thank you to all of our funding partners and sponsors.

CORE FUNDER

Thanks to 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

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: Bluestar, King & Queens Hotel Suites and Park Hotel. Level 4, 75 Ghuznee Street PO Box 6238, Wellington 0800 CONCERT (266 2378) [email protected] www.chambermusic.co.nz