Tour Partner

Touring NZ 10 – 23 March

Anderson & Roe

Piano Duo

Chamber Music New Zealand presents

Auckland

Melbourne

Singapore

Music brings us closer

Congratulations Chamber Music New Zealand, we’re thrilled to be in creative partnership with you. Here’s to a vibrant year of Music Up Close, delighting audiences and delivering meaningful experiences for all New Zealanders.

voice.co.nz

ANDERSON & ROE PIANO DUO

CHAMBER MUSIC NEW ZEALAND presents

Saturday 10 March, 7.30pm Auckland Town HallSunday 11 March, 5pm Gallagher Academy HamiltonTuesday 13 March, 7.30pm Theatre Royal New PlymouthWednesday 14 March, 7.30pm Globe Theatre Palmerston NorthThursday 15 March, 7.30pm MTG Century Theatre NapierSaturday 17 March, 7.30pm Michael Fowler Centre WellingtonSunday 18 March, 6pm Old St John's Church NelsonTuesday 20 March, 7.30pm The Piano ChristchurchThursday 22 March, 7.30pm Glenroy Auditorium DunedinFriday 23 March, 7.30pm Civic Theatre Invercargill

BERNSTEIN / ANDERSON & ROE | Prelude, Fugue, and Riffs Pg 5JOHN ADAMS | Hallelujah Junction Pg 5ANDERSON & ROE | Hallelujah Variations (Variations on a Theme by Leonard Cohen) Pg 6THE BEATLES / ANDERSON & ROE | Let It Be Pg 6

Interval

BERNSTEIN / ANDERSON & ROE | West Side Story Suite Pg 7GLUCK / ANDERSON & ROE | Ballet from Orphée et Eurydice Pg 8BIZET / ANDERSON & ROE | Carmen Fantasy Pg 8

*The Artists reserve the right to make changes to the programme

DURATION: 120 minutes - including interval.

Programme notes written by Sarah Chesney. Notes include adaptations of copy written by Anderson and Roe.

1Anderson & Roe Piano Duo

The Auckland concert will be recorded for broadcast by RNZ Concert

Please respect the music, the musicians, and your fellow audience members, by switching off all cellphones, pagers and watches. Taking photographs, or sound or video recordings during the concert is strictly prohibited unless with the prior approval of Chamber Music New Zealand.

2 Chamber Music New Zealand

Kia ora tātouIt is a pleasure to welcome Greg Anderson and

Elizabeth Joy Roe to Aotearoa on their first tour

for Chamber Music New Zealand.

A couple of years ago, I overheard the musicians

of The Egmont Trio talking about Anderson &

Roe. They whetted my curiosity and, at the first

opportunity, I looked them up on YouTube. I was

immediately hooked.

What I loved was first, their virtuosity and

engaging musicianship, but also their ability

to find ways of projecting the character of

the music that they perform. They are witty,

charming and communicative. Yet, they are

also utterly committed to the music that they

perform, whether that is Mozart, Bernstein or

Leonard Cohen. These concerts are going to be

pure fun – and musically satisfying.

This is the beginning of CMNZ’s 2018 season.

If you haven’t already looked at the other

concerts that we’re offering this year, I urge you

to do so and to think about converting tonight’s

concert into the first element in a subscription

Peter WallsChief ExecutiveMusic Up Close | Chamber Music New Zealand

package. Never before have I felt so confident

that we have a lineup of great artists and a

really enticing variety of ensemble types and

styles. The CMNZ 2018 season is like a year-

long festival – high quality and with a wide

and diverse appeal.

The Anderson & Roe tour is being supported

by VOICE Brand Agency who are new national

touring partners. They are doing great things

for us – our new brand identity is an exciting

start – and you’ll see more of our work

together as the year goes on.

Enjoy the concert.

Known for their adrenalized performances,

original compositions, and notorious music

videos, GREG ANDERSON and ELIZABETH JOY ROE are revolutionising the piano duo

experience for the 21st century. Described as

“the most dynamic duo of this generation”

(San Francisco Classical Voice), “rock stars of

the classical music world” (Miami Herald), and

“the very model of complete 21st-century

musicians” (The Washington Post), the Anderson

& Roe Piano Duo aims to make classical music a

relevant and powerful force around the world.

Their albums on the Steinway Label (When

Words Fade, An Amadeus Affair, and The Art

of Bach) were released to critical acclaim and

have spent dozens of weeks at the top of the

Billboard Classical Charts, while their Emmy-

nominated, self-produced music videos have

been viewed by millions on YouTube and at

international film festivals.

Since forming their dynamic musical

partnership in 2002 as students at

The Juilliard School, Anderson & Roe have

toured extensively worldwide as recitalists

and orchestral soloists, presented at numerous

international leader symposiums, and appeared

on MTV, PBS, NPR, and the BBC. A live

performance by Anderson & Roe was hand-

picked to appear on the Sounds of Juilliard CD

celebrating the school’s centenary.

Highlights of the 2017/18 season include

concerts throughout North America (including

their Kennedy Center debut), Europe, Asia, and

New Zealand; concerto appearances with the

Vancouver Symphony Orchestra, San Francisco

Symphony, and Rochester Philharmonic; the

release of their latest album, Mother Muse;

and webcast hosting for the 15th Van Cliburn

International Piano Competition.

ANDERSON & ROE PIANO DUO

Photo: Lisa-Marie Mazzucco

Many of the works you will hear tonight

are arrangements of dances or

dramas, emphasising the physical

nature of piano performance and the capacity

of highly theatrical music to upstage traditional

genre boundaries. Likewise, many of the

composers represented tonight are celebrated

for their expertise in knitting diverse genres and

musical perspectives together.

This sense of transcendence – of styles, forms,

eras, and timbres – extends to the meanings

imbued in several works. John Adams’ Hallelujah

Junction and the variations based on Leonard

Cohen’s “Hallelujah” encourage us to meditate

on the composition of the word hallelujah itself;

its syllables, sounds, and sensibility. By the same

token, “Let it Be” awakens the same sentiment of

praise and self-reflection.

From the poignant simplicity of the Beatles’

melody-driven song, Anderson and Roe move

to the “noble simplicity” of Gluck’s late 18th-

century ballet, “Dance of the Blessed Spirits”. The

oldest piece in the programme tells the timeless

tale of Orpheus – the God of music, who

suffered for his doubt – and describes another

meditative space: the Elysian fields, eternal

arcadia of Greek myth.

Leonard Bernstein – who would have turned 100

this year – composed two of the programme’s

works. First, Prelude, Fugue, and Riffs starts us

off with its rousing big band licks. Following

Gluck’s “Dance of the Blessed Spirit”, the West

Side Story Suite, is also based on a ballet (via the

acclaimed musical),and narrates an ultimately

tragic sequence of events. New York’s star-

crossed lovers were never destined for a happy

ending; nor were Georges Bizet’s Spanish gypsy

Carmen and her former lover, Don José. These

operatic melodies from Carmen – as evocative

and gripping as ever in this piano arrangement –

provide a flourishing finale.

BERNSTEIN / ANDERSON & ROE Prelude, Fugue, and Riffs

JOHN ADAMSHallelujah Junction

Windows down, driving on the open road.

John Adams’ work for two pianos feels free

and expansive, even without knowing that

Hallelujah Junction is a blink-and-you-miss

it spot on the highway near the California—

Nevada border. Suggesting a gradually

changing landscape, the modal harmonies

smoothly transform across repeated

motivic material.

Adams describes the piece as “musical

onomatopoeia”, in which he starts with a

three-syllable abbreviation “-le-lu-jah” before

moving to even semiquavers. In turn, this rolling

pattern of semiquavers surrenders to heavy

chords, before the opening three-syllable

theme returns. The intensity builds to the

final, exhilarating section, as the first syllable

is added to complete the word and shift the

sense of pulse. Throughout Hallelujah Junction

the identical timbres of the pianos magnify the

rhythmic ambiguity this syllabic motif triggers.

What is more, the ten-fingered chords resonate

to generate an undulating continuum of sound

that would be impossible to recreate with

instruments of different sonorities. Written

in 1996, the work premiered in California,

some 220 miles straight down Route 80 from

Hallelujah Junction.

Adams, one of the most successful and prolific living composers, capitalises on the pianos’ identical timbres to create rippling, cyclical motions.

Jazz with a Baroque twist: in this arrangement of Bernstein’s Prelude, Fugue, and Riffs, two pianos embrace the challenge of channeling counterpointed big band riffs.

In his spin on musical genres and traditions,

Leonard Bernstein takes the Baroque Prelude

and Fugue forms as the background (or, riff)

to this work originally for jazz ensemble. He

composed each of the three movements

to showcase different sections and soloists

from the ensemble in 1949, but the work only

premiered in 1955, on television broadcast.

While Al Gallodoro first performed the clarinet

solo, Bernstein dedicated Prelude, Fugue, and

Riffs to the celebrated jazz clarinetist and band

leader Benny Goodman.

This year marks 100 years since Bernstein’s

birth, and this two-piano arrangement retains

all the zing of the original. The first movement,

Prelude, alternates blasts of sound with muted

sequences. The parts unite in satisfying swing

style before yielding to the sudden contrasts

typical of Baroque music once more. Next, in

characteristic Fugue form, the initial theme is

successively taken up by different lines. This

creates a counterpoint over which floats a

lyrical melodic line. The last movement, Riff,

reimagines all the power of a full big band.

After a brief moment of calm, the final section’s

frantic acceleration will leave you exhilarated.

5Anderson & Roe Piano Duo

ANDERSON & ROE Hallelujah Variations

“Hallelujah”, as Leonard Cohen describes it, suggests a moment of introspection among these uplifting and winding variations.

A 1984 cult classic, Leonard Cohen’s most well-

known song is a meditation on the elusive

nature of love and the search for atonement.

The lyrics are emotionally complex, and the

meaning of “hallelujah” itself seems to shift

throughout the song. Alternating between

despair, yearning, ecstasy, and praise,

“Hallelujah” emerges as a call that is not solely

religious, but profoundly human. Cohen himself

called it the “moment when you embrace [all

the irreconcilable conflicts of life] and you

say, ‘Look, I don't understand a thing at

all—Hallelujah!’”

This experience, and the almost otherworldly

transcendence amid human struggle that

Beethoven and Schubert unearthed in their late

works, influenced the writing of these variations.

As a nod to the elliptical nature of the song,

the eight variations are structured as four pairs.

Unusually, the clearest statement of the theme

follows the chorale-like Variation 1. Variations

3 and 4 bustle away from the harmonic

progressions of the original song. The serpentine

configurations in the third set of variations evoke

Schubert’s idiomatic four-hand piano writing.

The concluding two variations are expansive in

structure and mood; they meander, then build

toward a rapturous conclusion.

THE BEATLES / ANDERSON & ROE Let It Be

Cohen’s “Hallelujah” flows smoothly into the popular title track of the Beatles’ 1970 album. This inventive arrangement highlights gospel choir-inspired sonorities.

Throughout the ages motherhood has inspired

the genesis of countless works of art, from fables

and sacred paintings to theatrical tragedies

and, of course, music of all genres. Perhaps the prototype of creation, motherhood inspired

the duo to use their full creative potential in

arranging and interpreting the Beatles’ “Let It

Be”. In this classic song, Paul McCartney pays

poignant and powerful tribute to his mother,

Mary, who tragically died of an embolism when

he was only 14; the song’s lyrics and gospel-

inflected tone, also invokes the Virgin Mary, the

ultimate maternal icon:

When I find myself in times of trouble, Mother

Mary comes to me

Speaking words of wisdom, let it be

And in my hour of darkness she is standing right

in front of me

Speaking words of wisdom, let it be, let it be.

In this arrangement, the duo assume the roles

of dueling gospel pianists, underscoring the

redemptive uplift of the song’s message and the

power of music to illuminate the darkness.

6 MUSIC UP CLOSE

7

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BERNSTEIN / ANDERSON & ROE West Side Story Suite

The drama and tunes of Leonard Bernstein’s

much-loved musical West Side Story – from

the playful to the tragic – abound in this

arrangement for two pianos. The musical

reinvents Shakespeare’s Romeo and Juliet,

tackling the social issue of rival gangs in

New York City.

At a local dance, Tony falls in love with Maria.

The pair are caught up in a fight between Riff,

Tony’s best friends and the leader of the Jets

(an established gang) and Bernardo, Maria’s

brother and the leader of a new Puerto Rican

gang, the Sharks. After both Riff and Bernardo

die, Maria tries to send a message to Tony via

Anita, Bernardo’s girlfriend. Gang violence and

revenge cause Tony’s death before he and

Maria can reunite.

Bernstein collaborated with writer Arthur

Laurents and choreographer Jerome Robbins,

producing the work over nearly eight years to

premiere in 1957. In 1995, Robbins adapted the

musical for ballet, as West Side Story Suite. The

music captures key scenes and moods, from

the permeating “Maria” theme and “Tonight”

(the balcony scene) to the percussive “Mambo”

and edgy “The Rumble”.

The Sharks or the Jets? Enter the musical landscape of New York’s gang scene, infused with jazz idioms and Latin rhythms.

BIZET / ANDERSON & ROE Carmen Fantasy

However beguiling and exotic Carmen’s melodies are, neither she, nor Don José, can avoid the motive that suffuses Bizet’s score, foreshadowing death.

A concert fantasy in the grand Romantic

tradition, the Carmen Fantasy for Two Pianos

weaves together several distinct scenes from

Georges Bizet's beloved opera Carmen.

The arrangement begins with the “Danse

Bohémienne” from Act IV, a ballet almost always

cut from modern performances of the opera.

(Bizet used the same material in his L'Arlésienne

Suite.) The “Aragonaise” follows, originally

the entr’acte to Act IV, just before the opera’s

climactic bullfight. Next appears the famous

"Habanera" from Act I, in which the gypsy

Carmen sings “L’amour est un oiseau rebelle”

(Love is a rebellious bird), and the Act III “Card

Aria”, in which the hands dealt foretell Carmen

and Don José are doomed to die. Following

this terrifying omen of death, the music cuts

to the “Flower Song” from Act II, a scene that

epitomises the love Don José and Carmen once

shared. This juxtaposition highlights the opera’s

tragic climax: Don José’s murder of Carmen. The

fantasy concludes with the Act II “gypsy dance”.

The music accelerates in a whirlwind of fevered

rhythm, Basque tambourines, and ecstatic dance.

GLUCK / ANDERSON & ROE Ballet from Orphée et Eurydice

A piece displaying the control and elegance of Classical style, Gluck’s “Dance of the Blessed Spirits” exemplifies the soothing effect of a sweet melody.

8 Chamber Music New Zealand

During the 18th-century, cultural preoccupation

with Classical antiquity led to the formation

of the Classical style (often associated with

the music of Haydn and Mozart). In 1756, the

archaeologist Johann Winckelmann observed,

“The general eminent characteristic of Greek

masterpieces is ultimately a noble simplicity and

a calm greatness.” Twenty years later, Christoph

Willibald Gluck expressed a similar aim for his

music, writing “I thought that my chief endeavour

should be to search for a grand simplicity.”

“Noble simplicity” is poignantly evident in Gluck’s

1774 opera Orphée et Euridice, based on the

famous Greek legend of Orpheus. The opera

tells the poetically tragic story in which Orpheus

attempts to retrieve his wife, Eurydice, from the

underworld after she dies on their wedding day.

Anxious and yearning for Eurydice, Orpheus

breaks the one condition of their escape: that

he must not glance back as he guides Eurydice

from the underworld. Orpheus loses her again,

this time for eternity.

Act II opens with the “Dance of the Blessed

Spirits” a ballet set in the Elysian Fields, the

hauntingly beautiful resting place of souls in

Greek mythology. The ballet was originally

scored for the ethereal combination of solo flute

with string accompaniment.

Pubs. Parks. Street corners, stages. New York, London. Tonight, here.

It doesn’t matter where Anderson and Roe play piano, joy rushes in. Pop, jazz, romantic, baroque – music from their fingers becomes music in your heart. And joy is what we’ll bring you all season long, beginning with this dazzling tour.

We want to bring more New Zealanders up close to this music, close enough to touch, with another year of award-winning Accessible Concerts – personal encounters between musicians and young people who have not had the chance to experience music, or joy, quite like this.

“I went to the accessible concert last week at Te Whaea. What a joy it was…it’s a brilliant thing for Chamber Music New Zealand to foster. One of the most moving experiences I have had.” - CMNZ subscriber

We need your support to present Music Up Close in 2018. Can you help share the joy?

Will you play your part in presenting Music Up Close?

Visit: chambermusic.co.nz/donate-online-nowPhone: 04 802 0759Email: encore@chambermusic.co.nz

Photo: Hannah Beattie

MUSIC UP CLOSEHelp Share The Joy

Thank You!To all of our generous donors who support CMNZ throughout the year.

Founders' Circle MembersAnonymousGraeme EdwardsArnold and Reka SolomonsThe Estate of Jenni CaldwellThe Estate of Aileen ClaridgeThe Estate of Walter FreitagThe Estate of Chisne GunnThe Estate of Warwick Gordon HarrisThe Estate of Joan KerrThe Estate of Monica Taylor Ensemble ($10,000+)Anonymous Robin & Sue HarveyKaye & Maurice ClarkGill and Peter DavenportPeter and Carolyn DiesslProfessor Jack Richards

Octet ($5,000+)M Hirschfeld Children's TrustHylton LeGrice and Angela LindsayThe Lyons Family - in memory of Ian LyonsKerrin and Noel VautierLloyd Williams and Cally McWha

Quintet ($2,500+)Joy ClarkJohn and Trish GribbenAnn HardenJane KominikCollin PostArnold and Reka SolomonsPeter and Kathryn Walls Quartet ($1,000+)Anonymous (2)Donald and Susan BestRoger and Joanna BoothPhilip and Rosalind BurdonMD and MA CarrRick and Lorraine ChristieRoger ChristmasThe Cranfylde Charitable TrustPeter and Rae FehlFinchley TrustDame Jennifer GibbsPatricia GillionDavid and Heather HuttonLinda MacFarlane

Elizabeth McLeayRoger and Jenny MountfortBarbara PeddieRoger ReynoldsMartin and Catherine Spencer Basil & Jenny StantonAlison ThomsonAnn TrotterJudith TrotterAnna WilsonBruce Wilson and Jill WhiteAnn WylieDavid Zwartz

Trio ($500+)Anonymous (5)Diane BaguleyPhilippa BatesHarry and Anne BonningJD CullingtonJonathan CweorthGraeme and Di EdwardsHanno FairburnTom and Kay FarrarJohn FarrellAnne French Consulting LtdBelinda GalbraithPat GibsonLaurie GreigDouglas and Barbara HolborowE Prof Les HolborowMichael Houstoun and Mike NicolaidiCaroline ListFiona Macmillan and Briony MacmillanMargaret MalaghanRaymond and Helen MatiasAE McAloonAndrew and Mary McEwenShelley and Euan MurdochPrue OldeMiles RogersSylvia RosevearPeter and Juliet RoweJohn and Kathryn SinclairRoss SteelePriscilla TobinDavid TrippPatricia UngerRichard and Elaine WestlakeTim Wilkinson

Every gift of $5 or more is eligible for tax purposes and provides you with a tax credit, a receipt will be issued for tax deduction purposes.

Read the entire manfesto online at andersonroe.com/listening-manifesto

A MUSIC LISTENING MANIFESTO by Greg Anderson & Elizabeth Joy Roe

• Allow music to transform you. The prerequisites for transformation: the openness to experience events and the willingness to be changed by them.

• Embrace the new. It takes courage to depart from familiarity and escape your comfort zone: only with change is there life.

• Make every encounter new. Every listening adventure – no matter how seemingly familiar or repetitive – is new. All musical occasions are an opportunity for transformation, growth, and discovery.

• The musical experience is yours. You live it. You create it. Your engagement is a vital ingredient.

• Woah. The music doesn’t always happen where we think it ought to. Instead, it happens somewhere else – in the silence, in the reverb on the walls, in the performer’s gasp for air. Music comes charged with a palpable energy created by its surroundings at that very moment. Under any other circumstance, it would be different.

• Go deep. Really deep. Some treasures are freebies, but many more are buried in the sand, perceived only under the microscope, or clouded in the murky depths of the mind. The deeper you go, the more likely you will find something of value.

• Listen as if it were the last time your ears could hear. Savor it.

• Nature is beautiful because it is untouched by humans, but music is beautiful because it is a human creation. Music is direct interaction with the human spirit.

• Be open to other life, whether it be the composer’s life, the performer's life, or the lives of those around you (…yes, even the noisemaker to your left). Other people’s lives are more weird and wonderful than we could ever imagine. By absorbing the musical complexity of the human condition, you will walk away transformed.

• Join the party. Music is an interactive event that serves our primordial need to share in something greater than ourselves.

• As E.M. Forster said, “Only connect.” Music is a pliant collaboration actively involving all participating factors: performers, composers, listeners, and musical elements. Relish the conflict, euphoria, frustration, and innumerable creative possibilities that arise with collaboration.

• Liberate yourself from technological trappings and to-do lists. Just be present with and within the music.

• Close your eyes. Focus on the sonic essence of the music.

BranchesAuckland: Chair, Victoria Silwood; Concert Manager, Bleau BusteneraHamilton: Chair, Murray Hunt; Concert Manager, Gaye DuffillNew Plymouth: Concert Manager, Catherine MartinHawkes Bay: Chair, June Clifford; Concert Manager, Rhondda PoonManawatu: Chair, Graham Parsons; Concert Manager, Virginia Warbrick Wellington: Concert Manager, Rachel Hardie Nelson: Chair, Annette Monti; Concert Manager, Clare MontiChristchurch: Concert Manager, Jody KeehanDunedin: Chair, Terence Dennis; Concert Manager, Richard DingwallSouthland: Chair, Rosie Beattie; Concert Manager, Jennifer Sinclair

StaffChief Executive, Peter WallsArtistic Manager, Catherine GibsonArtistic Assistant, Jack HobbsEducation and Outreach Coordinator, Sue JaneOperations Coordinator, Rachel HardieDevelopment Manager, TBC Development Executive, Virginia CloseMarketing Manager, Shelley DavisDesign & Print Coordinator, Darcy WoodsMarketing & Communications Coordinator, Alessandra OrsiTicketing & Database Coordinator, Laurel BrucePublicist, TBC Office Administrator, Becky Holmes

BoardLloyd Williams (Chair), Quentin Hay, Gretchen La Roche, Bruce Phillips, Matthew Savage, Vanessa Van den Broek, Kerrin Vautier

Regional Presenters Marlborough Music Society Inc (Blenheim), Christopher's Classics (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, Wanaka Concert Society Inc, Chamber Music Wanganui, Warkworth Music Society, Wellington Chamber Music Trust, Whakatane Music Society, Whangarei Music Society.

Level 4, 75 Ghuznee Street PO Box 6238, Wellington0800 CONCERT (266 2378)

info@chambermusic.co.nzwww.chambermusic.co.nz

/ChamberMusicNZ

© Chamber Music New Zealand 2018 No part of this programme may be reproduced without the prior permission of Chamber Music New Zealand.

REGIONAL CONCERTS

MAZZOLI TRIO

(violin, viola, cello )

Tauranga 11 March

Warkworth 18 March

Lower Hutt 26 March

Kerikeri 8 June

BEHN QUARTET

(violin, violin, viola, cello )

Kerikeri 14 April

Whangarei 15 April

Rotorua 18 April

Palmerston North 20 April

Wellington 22 April

Upper Hutt 23 April

Nelson 24 April

Invercargill 27 April

Cromwell 28 April

Christchurch 1 May

TORU

(flute, viola, harp)

Motueka 9 May

Gore 13 May

Lower Hutt 16 May

Wanganui 17 May

Warkworth 19 May

Tauranga 20 May

Rotorua 22 May

Gisborne 25 May

A special thank you to all of our sponsors and funding partners.

THANK YOU

Bendigo Valley Charitable FoundationCommunity Trust of SouthlandDunedin City CouncilEastern & Central Community TrustFirst Light Community FoundationFour Winds FoundationInvercargill Licensing TrustJudith Clark Memorial Fund

Trust HouseTrust WaikatoTSB Community TrustTurnovsky Endowment TrustWellington City CouncilWellington Community TrustWinton & Margaret Bear Charitable Trust

Mt Wellington Foundation New Plymouth District CouncilOtago Community TrustPelorus TrustPub CharityRātā FoundationSouthern TrustThe Adam Foundation

National Touring Partners

Funding Partners

Core Funder Supporting Funder

National Business Partners

Regional Partners Education & Community Partners

Key Funding Partners CMNZ recognizes the following funders who generously support our work.

Behn Quartet

Chamber Music New Zealand presents

For booking information visit

chambermusic.co.nz/behnquartet0800 CONCERT (266 2378)

Core Funder

DVOŘÁK / JACK BODY / RAVEL & more

“The Behn Quartet stands out with a controlled powerful and

expressive sound” — De Uitkijkpost, Heiloo

Touring NZ: 14 April – 1 May