Chamber Music New Zealand

1 Chamber Music New Zealand

northernmigrations.co.nz

Touring NZ 15 – 25 June

Tēnā koutouIt was 1972 in Middlesbrough in the north of England when four school kids aged between 10 and 12 decided they wanted to form a string quartet. Within two years they were winning national competitions, performing Dmitri Shostakovich’s music to a packed-out Royal Albert Hall in London.

More than 40 years on, now with a stellar international reputation, the Brodsky Quartet are now touring down-under, having recently performed throughout Australia, and now Chamber Music New Zealand are delighted to welcome them back to New Zealand.

I was lucky enough to hear the Brodsky Quartet during their last tour of New Zealand four years ago. What struck me is how innovative and forward-looking this Quartet is. It is very easy for us to assume that a quartet with such a long history might have very set ideas underpinning their performance ethos; that with longevity comes a sort of adherence to tradition. But if we were to imagine any philosophy underpinning the Brodsky Quartet, it would be one of innovation and creativity, of ensuring that the quartet is comprised of contemporary, living artists - artists who evolve the medium and the music. And this year is particularly exciting as Brodsky continue to evolve, this time with their new violinist Gina McCormack. We welcome her on her first tour here to New Zealand.

Through performing in new ways, expanding traditional repertoire, performing with artists such as Björk, Paul McCartney and Elivis Costello, and breathing new life in the rich heritage of the classical repertoire, Brodsky are a quartet for our modern era.

Have a wonderful evening,

Catherine GibsonChief Executive Chamber Music New Zealand

BACH 9 Fugues 1 and 6 from The Art of Fugue, BWV 1080

MOZART 10 Adagio and Fugue in C Minor, K. 546

MENDELSSOHN 10 Fugue in E-flat Major from Four Pieces op. 81

BEETHOVEN 12 Fugue in B-flat Major (“Grosse Fugue”), op. 133

Interval

BARTÓK 13 String Quartet No. 1

The Wellington concert is being recorded for live broadcast by RNZ Concert. The Auckland concert is being recorded for later broadcast by RNZ Concert.

DURATION: 100 minutes including an interval

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

Fugues Auckland, Napier, Palmerston North & Invercargill

DURATION: 100 minutes including an interval

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

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.

JAVIER ALVAREZ 14 Metro Chabacano

GERSHWIN 14 Lullaby (1919)

MARIO LAVISTA 14 Reflejos de la Noche (1984)

OSVALDO GOLIJOV 14 Tenebrae (2003)

Interval

RAVEL String Quartet in F Major 14

Rhythm and Texture Wellington, Christchurch & Dunedin


Since forming in 1972, the Brodsky Quartet have performed over 3,000 concerts on the major stages of the world and have released more than 60 recordings. A natural curiosity and an insatiable desire to explore has propelled the group in a number of artistic directions and continues to ensure them not only a prominent presence on the international chamber music scene, but also a rich and varied musical existence. Their energy and craftsmanship have attracted numerous awards and accolades worldwide, while their ongoing educational work provides a vehicle to pass on experience and stay in touch with the next generation.

Throughout their career of over 45 years, the Brodsky Quartet have enjoyed a busy international performing schedule, and have extensively toured the major festivals and venues throughout Australasia, North and South America, Asia, South Africa and Europe, as well as in the UK, where they are based. The quartet are also regularly recorded for television and radio, with their performances broadcast worldwide.

Over the years, the Brodsky Quartet have undertaken numerous performances of the complete cycles of quartets by Schubert, Beethoven, Tchaikovsky, Britten, Schoenberg, Zemlinsky, Webern and Bartok. It is, however, the complete Shostakovich cycle that has now become synonymous with their name: their 2012 London performance of the cycle resulted in their taking the prestigious title ‘Artistic Associate’ at London’s Kings Place and, in October 2016, releasing their second recording of the cycle, this time live from the Muziekgebouw, Amsterdam.

The Brodsky Quartet have always had a busy recording career and currently enjoy an exclusive and fruitful relationship with Chandos Records. Releases on the label include Petits Fours, a celebratory album of ‘Encore’ pieces arranged exclusively by the quartet for their

40th anniversary; a Debussy compilation; In the South, featuring works by Verdi, Paganini, Wolf and Puccini; New World Quartets, comprising works by Dvorak, Copland, Gershwin and Brubeck; the quartets of Zemlinsky, including the world premiere recording of his unpublished early quartet; two Brahms discs, featuring the iconic Piano and Clarinet Quintets; the Shostakovich Complete Quartets.

As well as partnering many top classical artists for their performances and recordings, the quartet have made musical history with ground-breaking collaborations with some of the world’s leading artists across many genres and have commissioned and championed many of the world’s most respected composers.

Awards for recordings include the Diapason D’Or and the CHOC du Monde de la Musique. The Brodsky Quartet have received a Royal Philharmonic Society Award for their outstanding contribution to innovation in programming.

The quartet have taught at many international chamber music courses and have held residencies in several music institutes including, at the start of their career, the first such post at the University of Cambridge and latterly at the Royal Conservatoire of Scotland, where they are visiting International Fellows in Chamber Music. They were awarded Honorary Doctorates by the University of Kent and an Honorary Fellowship at the University of Teesside, where they were founded.

The quartet took their name from the great Russian violinist Adolf Brodsky, the dedicatee of Tchaikovsky’s violin concerto and a passionate chamber musician. Gina McCormack plays a 1749 Alessandro Gagliano violin; Ian Belton’s violin is by Giovanni Paolo Maggini, c.1615. Paul Cassidy plays on La Delfina viola, c.1720, courtesy of Sra. Delfina Entrecanales and Jacqueline Thomas’s cello is by Thomas Perry of Dublin, 1785.

Brodsky QuartetGina McCormack violin Ian Belton violinPaul Cassidy violaJacqueline Thomas cello

“…the players gave unstintingly of their passion and energies, playing with a spirit so transformational you felt they were actually

improving the world.” – The Strad


‘We call that a Fuge, when one part beginneth and the other singeth the same, for some number of notes (which the first did sing).’ So wrote Thomas Morley in his Plaine and Easy Introduction to Musick (1597). If only it were that plain and easy. Morley is right in describing the essence of fugal writing as having one line chase another (the Italian fuga means ‘flight’) using the same thematic idea (normally referred to as a ‘subject’). But this is open to layers of increasing complexity depending on how many lines (or voices) are involved (a fugue in three, four, five parts) and how many subjects are used (normally one, but there are double fugues, triple fugues and beyond). Even in a simple fugue, we are not really dealing with just one theme (the subject) since when the second voice answers the first, the first voice continues with what is known as a ‘counter-subject’. Fugues are a particular manifestation of counterpoint (point-contra-point, or, really line-contra-line). Its fully-developed 18th-century version organizes these ideas within a clearly-defined structure with a beginning (exposition), middle (development) and end (final entries). This is unashamedly learned music, with two presiding authorities.

The first is the Austrian composer Johann Joseph Fux (c.1660-1741) who in 1725 published Gradus ad Parnassum (‘Ascent to [Mount] Parnassus’ – the home of the muses). This treatise provides a systematic approach to writing counterpoint of the kind perfected by Palestrina. Every serious musician in the 18th century studied counterpoint from Gradus. (Bach’s copy survives. On Mozart and Beethoven, see below.) Mastering Fux’s principles was seen as fundamental to a well-educated composer’s craft.

The other authority was none other than Johann Sebastian Bach. Not only was he the greatest master of contrapuntal writing but his works were viewed as having an important pedagogical function. Bach seems himself to have seen the fugue as having a didactic importance. When the Jews lay down the law to Pilate in The St John Passion (‘Wir haben ein Gesetz’) it is in a fugue, a dogmatic expression of jurisprudential authority.

The composer and theorist Friedrich Wilhelm Marpurg (1718-1795) wrote a preface to Bach’s Art of Fugue when it was published in 1752. In it, he emphasizes the way in which Bach’s fugal writing transcends the didactic: ‘no one has surpassed him . . . in the deep and thoughtful execution of unusual, ingenious ideas, far removed from the ordinary run, and yet spontaneous and natural; I say natural meaning those ideas which must, by their profundity, their connection, and their organization, meet with the acclaim of any taste, no matter of what country.’

Fugues Auckland, Napier, Palmerston North & Invercargill

9Brodsky Quartet

How many of us grew up practising Preludes and Fugues from The Well-Tempered Clavier? We were in good company. Beethoven was given these by his first real teacher, Christian Gottlob Neefe. (All Beethoven’s other teachers – including Haydn – had him working exercises from Fux.) Felix Mendelssohn and his sister Fanny also both studied these works as children. (Fanny pleased her father by memorizing twenty-four of the Preludes.) Bach wrote other major works involving a systematic exploration of the possibilities of counterpoint – such as The Musical Offering, that remarkable collection of pieces based on a theme given to him by Frederick the Great.

Bach’s last such project was The Art of Fugue – 14 fugues (each called a ‘Contrapunctus’ in the manuscript) and four canons all based on the same four-bar theme.

The final piece was planned as a fugue with four subjects, one of which begins B-flat, A, C, B-natural or, as the Germans would spell it, B-A-C-H. On the last page of the manuscript, there is a note in Emmanuel Bach’s hand, “While working on this fugue, in which the name BACH appears in the countersubject, the author died.” This is a moving document – to see the pen stop mid-sentence.

Fugue 1 is a relatively straightforward four-voice composition. Fugue 6 is labelled ‘in the French style’, a reference to the dotted groups characteristic of a French overture. It uses the principal theme the right way up and upside down and has both versions played straight and in diminution (that is, at twice the speed).

J. S. Bach (1685-1750)

Fugues 1 & 6 from The Art of Fugue BWV 1080


During his Italian tour of 1770, Mozart (now fourteen years old) sought composition lessons from the composer and pedagogue Giambattista Martini (Padre Martini) in Bologna. His exercises, with Martini’s corrections, survive. When, in turn, Mozart took on the Englishman Thomas Atwood as a pupil he set him to work on Fux. Atwood’s efforts also survive with Mozart’s corrections including a final comment, ‘You are an ass.’ (The two became good friends.)

In Vienna, Mozart was part of a circle of musicians drawn into the enthusiasms of the Imperial Court Librarian. In 1782 he wrote to his father, ‘Every Sunday at twelve I go to Baron van Swieten’s – and nothing is played there except Handel and Bach. I’m currently making myself a collection of Bach fugues.’ It was van Swieten who was instrumental in getting Haydn to set The Creation on the model of a Handelian oratorio. It was for van Swieten that Mozart arranged Messiah and transcribed five four-part fugues from Book II of The Well-Tempered Clavier for string quartet.

The C minor Fugue, K. 546, first appears as a work for two pianos (K. 426) composed in 1783. The version for strings comes six years later with a magnificent introductory adagio. This, with its regal dotted-rhythms, gives the ‘Adagio and Fugue’ the character of a grand French overture of the kind cultivated by Bach and Handel.

Wolfgang Amadeus Mozart (1756-1791)

Adagio and Fugue in C Minor, K. 546

When Mendelssohn was fourteen, his grandmother gave him Bach’s autograph manuscript of the St Matthew Passion as a Christmas present (imagine that!). He went on to direct a performance of the work at the Berlin Singakademie six years later, on 11 March 1829, a date that is now seen as marking the beginning of the Bach’s rehabilitation as one of the giants of Western music. Mendelssohn’s own output is testimony to his reverence for Bach. His piano music, for example includes numerous preludes and fugues (balancing the exquisitely romantic songs without words).

The E-flat Major Fugue comes from the last year of Mendelssohn’s life. The subject pays homage to the ‘Jupiter’ Symphony. The first four notes have exactly the same melodic and rhythmic profile as fugue subject in Mozart’s finale. Across its four-bar span, Mendelssohn’s subject also seems reminiscent of the fugue in the first movement of Beethoven’s Quartet in C# Minor, Op. 131. This is a beautiful piece that begins in quiet contemplation and culminates in joyous, optimistic repose.

Felix Mendelssohn (-Bartholdy) (1809-1847)

Fugue in E-flat Major from Four Pieces op. 81

11Brodsky Quartet

“…The famous four are justly acclaimed for their polish, sophistication and a mature refinement to which almost every group, in a music world stuffed with new string quartets, should aspire…” – Classic FM


The premiere of Beethoven’s String Quartet in B-flat Op. 130 – with the ‘Grosse Fuge’ [sic.] as its finale – took place in March 1826. Beethoven was too nervous to attend. He waited at a nearby hostelry for his friend Ignaz Holz to bring him back news of how things had gone. Holz reported that the audience had demanded encores of the second and fourth movements. Beethoven was not pleased. What about the Fugue? he asked. He was absolutely incensed to learn that it had not received a positive hearing. “Cattle!”, “Asses!” he is said to have roared. No further performances of the fugue were given for another twenty-eight years and Beethoven was persuaded to write an alternative finale for the quartet.

Beethoven’s late quartets are famously arcane. His journey into a profound inner world reached its apogee with the ‘Grosse Fugue’. As a stand-alone work, it is magnificent. The first thirty bars are labelled ‘Overtura’ by Beethoven, before a second heading ‘Fuga’ appears. This ‘overture’ sets out the material for the entire work: first a fortissimo statement of the fugue subject beginning, followed by a few bars in a dance-

Ludwig van Beethoven (1770-1827)

Fugue in B-flat Major (‘Grosse Fugue’), op. 133

like 6/8 metre. Then a conciliatory fragment marked ‘meno mosso e moderato’ (slower, moderate tempo) before an extraordinarily hesitant re-statement of the fugue subject, now beginning on B-flat and marked sempre pp.

650 bars (and 15 minutes) later, Beethoven again reviews his material but all of this stalls on an almost spooky unresolved dominant which is followed by 17 bars of groping towards a cadence onto the tonic. From there to the end of the piece we hear repeated affirmation through cadential figures of B-flat major as the home base.

So often in counterpoint, we enjoy the piquancy of a passing dissonance that results from perfectly ‘correct’ writing. What happens in the ‘Grosse Fugue’, and particularly in the double fugue section, goes way beyond that. It is like a determined working out of contrapuntal possibilities with little regard for what military analysts would call collateral damage.

Stravinsky famously described the ‘Grosse Fuge’ as ‘this absolutely contemporary piece of music that will be contemporary forever’.

Brodsky Quartet 13

Tucked away in Book 3 of Bela Bartók’s Mikrocosmos is a little piece called ‘Hommage à J. S. B.’. In 1908, while composing String Quartet No. 1, Bartók was also editing an educational edition of Bach’s Well-tempered Clavier. Throughout the quartet, Bartók’s fluency as a contrapuntal writer is everywhere evident, from the anguished opening built on a theme associated with the composer’s unrequited love for the violinist Steffi Geyer, to the capricious fugato writing in the final movement.

This growth from sombre reflection to exuberance (a ‘return to life’ as Bartók’s compatriot Zoltán Kodály described it) is carefully staged through the quartet, which is played without a break between movements. The middle movement is marked ‘gradually reaching a moderately fast tempo’. The opening of the final movement is a parody of a popular Hungarian song, ‘Just a Fair Girl’ by Elemér Szentirmai. It brings us back to the Bartók who did so much to raise awareness in the rest of the world of the rhythmic appeal and melodic inventiveness of Hungarian folksong.

Programme notes by Peter Walls

Bela Bartók (1881-1945)

String Quartet No. 1, op. 2 i Lento ii Poco a poco accelerando al Allegretto iii Introduzione: Allegro

“The Brodskys’ ability to communicate on so many levels - humanity and virtuosity all part of the essential integrity of their approach…”– The Guardian


These five composers seem to share one ideal – that musical barriers are to be deplored and ignored in favour of freedom of expression, whatever the style.

Widely regarded as the master of orchestration Maurice Ravel was fascinated by music of all nationalities and idioms, and so greatly supported George Gershwin when he travelled to Europe to seek acceptance as a ‘serious’ composer. Gershwin avidly immersed himself in all genres, saying ‘Good music should be valued regardless of style or category’. He was a great admirer of the European composers, seeking (but not receiving) tuition from Ravel, Schönberg and others. The financial success of his popular output enabled him to support the work of his mentors, for example funding the early recordings of Schönberg’s string quartets. Ravel rewarded the young American with tributes to his style, openly modelling his Violin Sonata and G major Piano Concerto on the jazz idiom he admired. That the two friends died in the same year is a poignant coincidence, especially sad given Gershwin’s young age.

Osvaldo Golijov grew up in an Eastern European Jewish household in Argentina and was raised on classical chamber music, Jewish liturgical and klezmer, and the new tango of Astor Piazzolla. His studies took him from his native Argentina to Israel and the USA, where he became absorbed by the colliding musical traditions of both countries, leading to a unique compositional voice which has taken the musical world by storm.

Teacher and pupil Mario Lavista and Javier Alvarez both studied in Europe and the USA as well as their native Mexico and have held professorial and Composer-in-Residence posts at major musical institutions worldwide. Though both are loyal to their Latin-American roots

throughout their prolific output, they convey many flavours through a variety of compositional styles, experimenting with improvisation and electro-acoustic techniques in addition to traditional notation. In the words of composer John Adams, “The music of Javier Alvarez reveals influences of popular cultures that go beyond the borders of our own time and place,” an accolade which can be applied to all the composers celebrated here.

Ravel was a master of instrumental colour with a mature compositional style even in his early twenties when he came to write the String Quartet in F. The work is dedicated ‘to my dear teacher Gabriel Fauré’ but is often said to be inspired by Debussy’s quartet written a few years earlier. The two shared a friendly rivalry, not felt by them but perceived by others – indeed the elder is known to have urged his young colleague ‘in the name of God… to change not a note’ after the work was criticised for, amongst other things, containing parallel 5ths (one of its greatest hallmarks) and failed to win the Prix de Rome and the Paris Conservatoire award. Even its dedicatee, Fauré, criticised it and the whole episode led to Ravel leaving the Conservatoire in a despondent state, though shortly afterwards to be re-elevated on a wave of public support.

Despite the diversity of the composer’s influences and inspiration, the work is firmly based in the classical form and opens with a pastoral impressionist painting of fine colour and breathless beauty. Extensive and dramatic use of pizzicato is the main feature of the second movement, like that of the Debussy quartet. Both were inspired by the sounds of gamelan, but in Ravel’s case, also by his maternal homeland of Basque Spain, with his use of cross-rhythms between 3/4 and 6/8. The central ‘trio’ section and the subsequent third movement both contain

Rhythm & Texture Wellington, Christchurch & Dunedin

Brodsky Quartet 15

elements of the jazz idiom which so interested the composer, but this slow movement has become a classic of the quartet repertoire with its sublime themes and hazy textures reminiscent of a sizzling Midi summer. The quartet ends with a vibrant and frenzied finale in 5/8, again playing with cross-rhythms, Hispanic and jazz elements and finishing with a flamboyant flourish.

Gershwin’s ‘Lullaby’ is one of the few chamber works he wrote and is an early example of his aspiration to ‘serious’ composition, an exercise in scoring for a standard classical ensemble. Such an academic premise nevertheless belies a playful almost programmatic approach – one can clearly sense the different stages of the complicated procedure involved in putting an infant to bed! Musical-box tinkling and story-telling, the child pleading for ‘just one more story’, exasperation from the parent (the final rendition of the lullaby theme comes in a strident fortissimo), and finally long yawns, blissful silence and tip-toeing out of the room. Muted throughout, the work’s delicate melody over a subtle syncopation reveals the dichotomy of styles at play in the composer’s tragically short life. He was not confident enough to have it published and it received its first performance many years after his death.

One can imagine the exhausted lullaby-singing parent finally escaping to the porch and relaxing with a drink in the heat of the night as the next work begins… In ‘Reflejos de la Noche’ (String Quartet No.2) Lavista uses a unique method to evoke the atmosphere of a South American night – all four players are given only natural harmonics to play throughout the work’s one movement. The wonderful canvas of sounds and textures, invoking images of insects and sounds of the night, is all the more extraordinary given this self-imposed limitation.

Alvarez wrote his ‘Metro Chabacano’ for the opening of a kinetic installation by sculptor Marcos Limenez in one of Mexico City’s busiest subway stations of the same name. was played on a loop for commuters’ enjoyment for the following three months. It is a one-movement moto perpetuo with melodic fragments emerging from a continuous and intricately playful rhythmic background.

Osvaldo Golijov has said of his piece: ‘I wrote ‘Tenebrae’ as a consequence of witnessing two contrasting realities in a short period of time in September 2000. I was in Israel at the start of the new wave of violence that is still continuing today, and a week later I took my son to the new planetarium in New York, where we could see the Earth as a beautiful blue dot in space. I wanted to write a piece that could be listened to from different perspectives. That is, if one chooses to listen to it ‘from afar’, the music would probably offer a ‘beautiful’ surface but, from a metaphorically closer distance, one could hear that, beneath that surface, the music is full of pain. I lifted some of the haunting melismas from Couperin’s Troisieme Leçon de Tenebrae , using them as sources for loops, and wrote new interludes between them, always within a pulsating, vibrating, aerial texture. The compositional challenge was to write music that would sound as an orbiting spaceship that never touches ground. After finishing the composition, I realised that Tenebrae could be heard as the slow, quiet reading of an illuminated medieval manuscript in which the appearances of the voice singing the letters of the Hebrew alphabet (from Yod to Nun, as in Couperin) signal the beginning of new chapters, leading to the ending section, built around a single, repeated word: Jerusalem.’

Programme notes by Jacqueline Thomas

JENNIFER STUMM

&Te Kōkī Triochambermusic.co.nz/jenniferstumm

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 Lyons Murray ShawKerrin 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 Trust Graeme and Di EdwardsPeter and Rae FehlFinchley TrustDame Jennifer GibbsPatricia GillionDavid and Heather HuttonLinda MacFarlaneElizabeth McLeay

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

Trio ($500+)Anonymous (6)Diane BaguleyPhilippa BatesHarry and Anne Bonning Sarah BuistJD CullingtonJonathan CweorthHanno FairburnTom and Kay FarrarJohn FarrellAnne French Consulting LtdBelinda GalbraithC & P GibsonLaurie Greig Gary and Helena HawkeDouglas and Barbara HolborowE Prof Les HolborowMichael Houstoun and Mike NicolaidiCaroline ListFiona Macmillan and Briony MacmillanMargaret MalaghanRaymond and Helen MatiasAE McAloon Fiona McAlpineAndrew and Mary McEwen Heather Miller Margaret NielsenPrue Olde Robert and Helen PhilpottMiles RogersSylvia RosevearPeter and Juliet RoweJohn and Kathryn SinclairRoss Steele Mary SmitPriscilla TobinDavid TrippPatricia UngerRichard and Elaine WestlakeTim Wilkinson

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THE 2019 ADAM TROUBADOURS Rotorua 11 JulyTaupo 14 July

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

Staff Chief Executive, Catherine Gibson Artistic Manager, Jack Hobbs Artistic Administrator, Lizzie Bisley Outreach Coordinator, Beckie Lockhart Operations Coordinator, Rachel Hardie Marketing & Development Manager, Will Gaisford Senior Designer, Darcy Woods Marketing Executive, Aja Lethaby Ticketing & Database Executive, Laurel Bruce Content Producer & Comms Executive, Anna van der Leij Marketing & Fundraising Coordinator, Rafaela Gaspar

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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.

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