JUILLIARD415Touring NZ: 27 February - 13 March

Core Funder

VOCES8Prepare yourself for the exceptionally smooth sounds of VOCES8 as they take you on an acoustic tour of cathedrals throughout NZ.

4–10 July

chambermusic.co.nz/voces8

HANDELOverture to Agrippina Page 15

MARAISDances from Sémélé Page 16

VIVALDIConcerto for flute, op 20, no 2, RV 439 (“La notte”) Page 17

MUFFATSonata V in G major from Armonico tributo Page 18

—interval—

CORELLIConcerto grosso in D major, op 6, no 7 Page 19

GILLIAN WHITEHEADtime steps out of line Page 20

RAMEAUSuite from Dardanus Page 21

95 minutes including interval

Baroque Invention: A Tale of Two Countries

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

Thu 27 Feb, 7.30pm | Gallagher Academy of Performing Arts, HamiltonFri 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 NorthThu 5 Mar, 7.30pm | MTG Century Theatre, NapierSat 7 Mar, 7.30pm | Salvation Army Citadel, Wellington Mon 9 Mar, 7.30pm | Nelson Centre for Musical ArtsTue 10 Mar, 7.30pm | The Piano, ChristchurchThu 12 Mar, 7.30pm | Glenroy Auditorium, DunedinFri 13 Mar, 7.30pm | Civic Theatre, Invercargill

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

TĒNĀ KOUTOU

What better way to open the 2020 concert season than in celebration of the musical virtuosity and youthful exuberance of Juilliard415, directed by renowned Baroque music exponent, violinist Robert Mealy. This is Juilliard415’s second tour for CMNZ and just as eagerly anticipated as the first—with the added pleasure of welcoming back those who have become our friends and those who will become so.

In a programme that celebrates both the old world and new, Italian and French Baroque traditions will be uncovered alongside the premiere of a brand new work written for Juilliard415 by New Zealand’s Arts Laureate, Dame Gillian Whitehead, aptly titled time steps out of line. The creation of this new work was made possible through the generous 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

of a number of people and organisations including Pub Charity. Travelling round the country with Juilliard415 is a beautiful Rubio harpsichord generously provided by the New Zealand School of Music, Victoria University of Wellington and a double bass kindly loaned by Richard Hardie. I would also like to thank Interislander for assisting with the crossing of the Cook Strait.

The association with The Juilliard School is one we truly value and I would like to thank Benjamin Sosland, the Administrative Director of the Historical Performance programme for his assistance in the planning and execution of the tour.

To our international performers—welcome! And to our audiences all around the country, please do enjoy this very special musical experience.

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A MESSAGE FROM BENJAMIN SOSLAND

When I learned that Juilliard415 would be returning to this gorgeous country on the other side of the world from us, I was giddy with joy. The great memories we have from our first tour are imprinted in our memories forever. Flat whites! Charming accents! Sheep! But above all, it’s the people I remember: the openness and flexibility of our CMNZ colleagues and the enthusiasm of the audiences who cheered us on at every stop.

Despite being so far away from our home in the heart of Manhattan, the hospitality and warmth showered on us makes us feel very much like we belong here. And imagine the privilege of premiering a brand-new piece

of music, written just for us, by the esteemed Dame Gillian Whitehead. Talk about rolling out the red carpet! It is a true honor to share the music we love with you. This music, which highlights the invention and virtuosity of the Italian and French Baroque traditions, lives on because of the talent and commitment of our extraordinary students—and because you are here to receive it.

We hope you find, as we do, that this music speaks to us as vibrantly and directly today as it must have when it was heard for the very first time so many years ago. What a great reminder of music’s power to supersede the barriers of time and geography. What a great reminder of music’s power to bring us together.

Benjamin SoslandAdministrative Director Juilliard Historical Performance

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JUILLIARD HISTORICAL PERFORMANCE

Juilliard’s full-scholarship Historical Performance program offers comprehensive study and performance of music from the 17th and 18th centuries on period instruments. Established and endowed in 2009 by the generous support of Bruce and Suzie Kovner, the program is open to candidates for the Master of Music, Graduate Diploma, and Doctor of Musical Arts degrees. A high-profile concert season of opera, orchestral, and chamber music is augmented by a performance-oriented curriculum that fosters an informed understanding of the many issues unique to period-instrument performance at the level of technical excellence and musical integrity for which Juilliard is renowned. The faculty comprises many of the leading performers and scholars in the

field. Frequent collaborations with Juilliard’s Ellen and James S. Marcus Institute for Vocal Arts, the integration of modern-instrument majors outside of the Historical Performance program, and national and international tours have introduced new repertoires and increased awareness of historical performance practice at Juilliard and beyond. Alumni of Juilliard Historical Performance are members of many of the leading period-instrument ensembles, including the Portland Baroque Orchestra, Les Arts Florissants, Mercury, and Tafelmusik, as well as launching such new ensembles as the Sebastians, House of Time, New York Baroque Incorporated, and New Vintage Baroque.

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.

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JUILLIARD415

Celebrating its 10th anniversary season, Juilliard415, the school’s principal period-instrument ensemble, has made significant contributions to musical life in New York and beyond, bringing major figures in the field of early music to lead performances of both rare and canonical works by composers of the 17th and 18th centuries. The many distinguished guests who have led Juilliard415 include Harry Bicket, William Christie, Monica Huggett, Nicholas McGegan, Rachel Podger, Jordi Savall, and Masaaki Suzuki. Juilliard415 tours extensively in the U.S. and abroad, having now performed on five continents, with notable appearances at the Boston Early Music Festival, Leipzig Bachfest, and Utrecht Early Music Festival (where Juilliard was

the first-ever conservatory in residence), and 2017’s 10-concert tour of New Zealand.

With its frequent musical collaborator, the Yale Institute of Sacred Music, the ensemble has played throughout Scandinavia, Italy, Japan, Southeast Asia, the U.K., and India. Juilliard415 recently made its South American debut with concerts in Bolivia, a tour sponsored by the U.S. Department of State. In a concert together with the Bach Collegium Japan, conducted by Masaaki Suzuki, Juilliard415 recently played a historic period-instrument performance of Mendelssohn’s Elijah at the Leipzig Gewandhaus in Germany. Previous seasons have been notable for side-by-side 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.

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Juilliard415, which takes its name from the pitch commonly associated with the performance of Baroque music (A=415), has performed major oratorios and Baroque operas every year since its founding, including the rare opportunity to see a fully-staged production of Rameau’s Hippolyte et Aricie during the 2017-18 season. During the 2018-19 season, the ensemble presented Purcell’s Dido and Aeneas at Opera Holland Park in London and the Royal Opera House of Versailles. A frequent collaborator with Juilliard’s Dance division, Juilliard415 premiered new choreography by Juilliard dancers in an all-Rameau program led by Robert Mealy and teams up again with Juilliard Dance this season for a new work choreographed by Andrea Miller.

Juilliard415 has had the distinction of premiering new works for period instruments, most recently for its Seven Last Words

Project, a Holy Week concert at the Cathedral of St. John the Divine for which the ensemble commissioned seven leading composers, including Nico Muhly, Caroline Shaw, and Tania Leon. Highlights of the upcoming concert calendar include performances with William Christie and Les Arts Florissants at the Philharmonie de Paris; Handel’s Rinaldo conducted by Nicholas McGegan in New York and at the Göttingen Handel Festival in Germany; a program of music inspired by Shakespeare, led by Rachel Podger; the Juilliard415 debut of Pablo Heras-Casado in a program of music from the Spanish Baroque; and another side-by-side collaboration with Philharmonia Baroque in San Francisco.

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Music director/concertmaster Robert Mealy

Violin Majka Demcak Aniela Eddy Natalie Rose Kress Edward Li Kako Miura Manami Mizumoto Rebecca Nelson Rachel Prendergast Shelby Yamin

Viola Majka Demcak Carolyn Farnand Natalie Rose Kress

Cello Jin Nakamura Charlie Reed Sydney ZumMallen

Double bass Markus Lang

Flute Kelsey Burnham Taya König-Tarasevich

Oboe Matthew Hudgens Emily Ostrom

Bassoon Georgeanne Banker

Harpsichord David Belkovski

Theorbo Joshua Stauffer

Hand percussion / Conductor Kyle Ritenauer

Juilliard Historical PerformanceAdministrative Director Benjamin Sosland

Assistant Administrative Director Rosemary Metcalf

JUILLIARD415

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“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

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David Belkovski (harpsichord)Hometown: Michigan, USAOver-caffeinated, passionate, curiousMy instrument: The oldest surviving instrument by Hans Ruckers, one of the most esteemed harpsichord builders in history, was found in Peru(!) in 1916. The instrument dates from 1581.When not playing music, you will find me… reading Greek myths or about the Habsburg empire. And of course, watching The Office for the umpteenth time.

Majka Demcak (violin & viola)Hometown: Surrey, British Columbia, CanadaAmbitious, fun-loving, compassionateMy 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.

Aniela Eddy (violin)Homeland: USA and ChinaLove for othersMy instrument: The baroque instrument that I am currently playing belongs to Juilliard. I wanted to play when I was three years old after attending a concert at the Detroit Symphony Orchestra with Itzhak Perlman as soloist. In order to convince my parents that I was serious, I pretended to play violin by using two sticks. When this didn’t work, I proceeded to tell all the neighbors that I was getting a violin for my birthday. A few years later, they were finally convinced.When not playing music, you will find me… climbing mountains, being in nature, doing photography, traveling, and being with friends.

MEET THE MUSICIANSMembers 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…

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Carolyn Farnand (viola)Hometown: Ottawa, CanadaEnergetic, dedicated, creative!My instrument: The bow that I am playing with is from Toronto, Canada (where I did my bachelor’s)!When not playing music, you will find me… running outside!

Taya König-Tarasevich (Baroque flute)Homeland: SiberiaMaster of laughter and disasterMy instrument: It is an 18th century instrument restored to a baroque setup!When not playing music, you will find me… writing and reading poetry, savoring tea, reflecting, meditating, hiking, traveling all over the world, making my dreams come true, loving and celebrating life!

Natalie Rose Kress (violin & viola)Hometown: Ambler, PennsylvaniaGoofy, reliable, ambitiousMy instrument: The violin I’m playing on belongs to Robert Mealy and was made by a New York maker, Jason Viseltear. What an honor to play one of your teacher’s instruments!When not playing music, you will find me… travelling and seeing new places. I feel very lucky to get to travel so much with J415!

Edward Li (violin)Hometown: Chengdu, ChinaCurious, serene, stubbornMy instrument: My violin bears scars from the First World War.When not playing music, you will find me… cooking, reading, biking, and spending time with cats.Kaka Miura (violin)Hometown: Sydney, AustraliaAlways eating foodMy instrument: Can be used as a cricket bat.

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When not playing music, you will find me… reading, taking walks with friends, cooking, going to see new music being performed!

Manami Mizumoto (violin)Hometown: New York CityLover of playMy instrument: Its strings are made of sheep gut, but since I have sweaty hands, I have to buy specially varnished ones so they last longer than a day or two (sometimes they still snap within a couple of days)!When not playing music, you will find me… drinking tea.Jin Nakamura (cello)Hometown: Osaka, JapanHardworking, chilled, clownMy instrument: Originally a modern cello of Stradivarius copy handmade in Korea. Converted into baroque condition with shortening the fingerboard, placing gut strings, and removing the endpin.When not playing music, you will find me… listening to music.

Rebecca Nelson (violin)Hometown: Gera, GermanyRare, shiny, expensive

My instrument: This 1800 Joannes Gagliano belonged to my mother and it has the sweetest sound.

When not playing music, you will find me… taking long walks and drinking tea.Emi Ostrom (Baroque oboe)Hometown: Columbia, Maryland, USAResourceful, spunky, tenaciousMy instrument: It only has two keys, and no octave key, so you need to focus your air stream to reach the high notes.When not playing music, you will find me… cooking and reading.

Rachel Prendergast (violin)Hometown: Denver, ColoradoGets cold easily

My instrument: I am playing a violin made by Carlo Antonio

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Testore between 1715 and 1765- the second two digits of the year are smudged on the label and hard to make out. Carlo Antonio Testore’s father was a luthier, as were his brother and son and nephew, so this instrument came out of a long-standing family tradition of instrument makers.

When not playing music, you will find me… reading and knitting socks.Charles Reed (cello)Hometown: Ashland, OhioSorry for TrumpMy instrument: I also play viola da gamba, which has frets like a guitar, but is played with a bow like a cello.When not playing music, you will find me… reading, mostly classic novels.

John Stajduhar (double bass)Hometown: San Antonia, TX/Portland, OREasy-going, reserved, intuitive

My instrument: This bass was likely originally a 3-string in the Italian classical style (which were much more widely used than 4-strings in the 18th to 19th centuries). It could also have had frets before, though it doesn’t currently, hearkening back to the double bass’ origins from the viol family, not the violin family of strings.When not playing music, you will find me… reading pulpy novels or giant history tomes, going out for a drive/walk, watching media critiques for TV or movies I have no intention to ever see.

Sydney ZumMallen (cello).Hometown: San Antonio, TexasWeird cat loverMy instrument: It is one of the few instruments you get to hold with your legs!When not playing music, you will find me… cooking, baking and hanging out with my cat!

ROBERT MEALY Music Director | ViolinOne of America’s leading historical string players, Robert Mealy has been praised for his ‘imagination, taste, subtlety, and daring’ by The Boston Globe. The New Yorker called him ‘New York’s world-class early music violinist’.

Mr. Mealy began exploring early music in high school, first with the Collegium of UC Berkeley and then at the Royal College of Music in London, where he studied harpsichord and baroque violin. While still an undergraduate at Harvard College, he joined the distinguished Canadian baroque orchestra Tafelmusik; after graduating he began performing with Les Arts Florissants. Since then, he has recorded and toured with many distinguished early music ensembles both here and in Europe, and served as concertmaster for Masaaki Suzuki, Nicholas McGegan, Helmuth Rilling, Paul Agnew, and William Christie, among others. He has led ensembles for the Mark Morris Dance Company at festivals in New York and Moscow, and accompanied Renée Fleming on the Late Show with David Letterman. As a recitalist, he has appeared at Carnegie Hall, the Smithsonian Museum, and on series across America.

A frequent leader and soloist in New York, Mr. Mealy is principal concertmaster at Trinity Wall Street, which recently completed a full cycle of Bach’s cantatas and passions. Mr. Mealy is Orchestra Director of the Boston Early Music Festival Orchestra, and has led them in many

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 Ensemble, he has led many productions of chamber operas, including their Grammy-winning recording of Charpentier’s chamber operas. He has appeared at international music festivals from Berkeley to Bremen, and from Melbourne to Edinburgh; he is a regular performer at the summer festival Les Jardins de William Christie in Thiré, France.

A devoted chamber musician, he co directs the seventeenth-century ensemble Quicksilver, whose debut recording, Stile Moderno, was hailed as ‘breakthrough re-cording of the year’ by the Huffington Post. He was a founding member of the Renaissance violin band The King’s Noyse, which has made eleven recordings for Harmonia Mundi USA. He served for over a decade as an instrumental soloist and leader with the Boston Camerata, recording a wide range of repertoire. Through his interest in earlier repertories, he cofounded the Medieval ensemble Fortune’s Wheel, which has appeared at early music festivals throughout the Americas, and at the Cloisters and the Frick Museum in New York.

Committed to education as well as performing, he directs Juilliard’s distinguished Historical Performance Program. From 2003 to 2015, he taught at Yale, directing the postgraduate Yale Baroque Ensemble and the Yale Collegium Musicum. Prior to that, he taught at Harvard for over a decade. In 2004, he received EMA’s Binkley Award for outstanding teaching and scholarship. Mr. Mealy has recorded over 80 CDs on most major labels. He still likes to practice.

KYLE RITENAUER Conductor | PercussionKyle Ritenauer enjoys a many faceted musical career as a conductor, percussionist, and teaching artist in New York City. As a conductor, Ritenauer has had the opportunity to study closely with legends in the field including Maestros Kurt Masur and Leonard Slatkin. Most recently, Ritenauer was invited to participate as a fellow in Maestro Slatkin’s new Manhattan School of Music/Detroit Symphony Orchestra Conductors’ Project. Ritenauer has worked with the New Jersey Symphony Orchestra as a cover conductor. In 2016 he made his Carnegie Hall - Stern Auditorium debut, leading students of the Manhattan School of Music in performing the orchestral music of composer Rongxin Peng.

A passionate advocate for contemporary music, Ritenauer regularly collaborates with composers, resulting in the premiere of over 55 works over the past six years. His work in the new music community led Ritenauer to create the Uptown Philharmonic, an ensemble dedicated to promoting the music and musicians of today.

Ritenauer owes his foundation as a conductor to the Pierre Monteux School, where he studied with Maestro Michael Jinbo. Ritenauer has also studied with Maestro Tito Munoz and Roger Nierenberg. Ritenauer is currently studying Orchestral Conducting as the Bruno Walter Conducting Fellow at The Juilliard School with Maestro David Robertson

Like opera, the orchestra was one of the most enduring inventions of the Baroque. And it arose in two cities at about the same time, thanks to two legendary figures. In Paris, Jean-Baptiste Lully discovered that the combination of the Violons du roi with the court wind-band would create an incredibly colourful ensemble for his new operas. And in Rome, Arcangelo Corelli brought together all the local virtuosi to perform together in his great concerti grossi. Our programmes are a portrait of these two very different styles, the French and the

BAROQUE INVENTION: A TALE OF TWO COUNTRIES

Italian, represented by some of the most spectacular composers of the time.

The Italian style is marked by brilliant virtuosity, often at hair-raising speeds: one contemporary remarked how the Italians play their Adagios slower than you can possibly imagine, but their Allegros are breathtakingly fast. Corelli’s own concerti grossi create vivid theatrical contrasts by dramatic alternations of slow and fast, loud and soft, tutti and solo: a chiaroscuro in sound. When Handel came to Rome as a young twenty-something virtuoso, he learned Corelli’s arts and

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transformed them into something even more spectacular in his Italian overtures. We also hear from Corelli’s Venetian contemporary Antonio Vivaldi, who took the contrasts of solo and tutti to an even more extreme degree in his concertos.

In France, things are more decorous. At the heart of the French style are the subtle and elaborate forms of classic French dance: pensive sarabandes, boisterous gigues, expansive chaconnes. Dancing was an integral part of every French opera, and our suite from Lully’s Thésée shows off the wit and

elegance of this style. We close our programs with a suite from Dardanus by the great French composer Jean-Philippe Rameau, whose operas astonished the Parisians of the eighteenth century.

The goal of our program is to bring the music of the Baroque to life vividly and persuasively; our students are thrilled to have crossed the world to share their love of this repertoire with you. We’re very happy to be adding a contemporary voice of New Zealand to this conversation, in a new work by Gillian Whitehead that is inflected by the rhythms and drive of the music around it.

Robert Mealy

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Handel’s sensational 1709 Venetian opera Agrippina, composed to a witty and cleverly constructed libretto by the Venetian patrician Cardinal Grimani, was a huge success. It received 27 performances and was enthusiastically received with cries of ‘Viva il caro Sassone!’ (It was also the first major instance of Handel’s lifelong habit of re-using material—of its 55 movements, 50 of them are recycled from

his earlier works or adapted from other composers). Here Handel takes the form of the French overture (as established by Lully) and transforms it into something far more theatrical and spectacular, demanding the same level of incredible virtuosity from his instrumentalists as he does from his opera singers.

Duration: 5 minutes

GEORGE FRIDERIC HANDEL (1685–1759)

Overture to Agrippina

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The sheer spectacle of a large group of instrumentalists doing exactly the same thing at the same time was something in the late seventeenth century that was a very new, and much commented-on aesthetic creation. A virtuoso viol player, it was in the Paris Opéra orchestra under Lully that Marais received a thorough training in orchestral and operatic composition. Sémélé was Marais’s fourth tragédie en musique, premiered in 1709. Written within the framework of the Lullian tradition, unlike Muffat and others among his contemporaries, Marais had no interest in blending

French and Italian musical styles. Preferring the refined French style, he excelled in developing the expressive possibilities of Lully’s opera model. Known for his exceptionally varied orchestral writing, Marais was one of the first to use soloists from within the orchestra. He expected a high level of virtuosity, especially from the string players, and even the basses de violon have their turn with the melody. Each of the three instrumental airs express the intrinsic nature of the character dancing them.

Duration: 9 minutes

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

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One of Vivaldi’s significant innovations was his use of a descriptive title, programme music, music that ‘tells a story’. The title La notte—appearing on three of his concertos—conveys the simple programme “The Night”. This solo concerto for flute (1729) is an exact arrangement of an earlier chamber concerto (before 1722) bearing the same descriptive title, but scored for flute, two violins, bassoon, and continuo. Vivaldi’s use of six movements, all in free form, is

an unusual departure from the standard three-movement plan. Of the 500 or so concertos for various instruments, almost 350 were for solo instrument and of those, 18 were for solo flute. Vivaldi once boasted to De Brosses that he ‘could compose a concerto in all its parts more quickly than it could be copied’. We know that from 1723 to 1729 he was, in fact, contracted to produce two new concertos a month; a requirement he fulfilled. It is this substantial contribution to the Baroque concerto that Vivaldi’s name is most associated with now.

Duration: 8 minutes

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

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Muffat was dispatched to Paris as a ten-year-old to study with Lully and others, then spent time in the 1680’s working with Corelli. Muffat went on to create a fusion of both French and Italian elements. Our suite incorporates pieces from the concerti grossi he wrote during his time in Rome, originally published in 1682 as a collection of five ‘chamber sonatas’ titled Armonico tributo. Renamed Ausserlesene Instrumental-Music for a 1701 publication, he 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

advocates bold Italianisms: ‘at the direction p all are to play so softly and so tenderly that one barely hears them, at the direction f with so full a tone from the first note so marked that the listeners are, (as it were) left astounded by such vehemence’. The Passacaglia is very much in the French style; the theme repeats in rondeau form.

Duration: 15 minutes

GEORG MUFFAT (1653–1704)Sonata V in G major from Armonico tributo Allemanda Adagio Fuga Adagio Passacaglia

Violin 1: Robert Mealy Violin 2: Rebecca Nelson Cello: Sydney ZumMallen

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By many accounts, Corelli was the first in Italy to insist upon an unheard-of level of orchestral discipline. Domenico Scarlatti wrote about the stunning effect created by Corelli’s ‘nice management of his band, whose uncommon accuracy of performance gave his concertos an amazing effect … their bows should all move exactly together, all up, or all down; so that at his rehearsals, he would immediately stop the band if he discovered one irregular bow’. The best example of this was heard in Corelli’s own concerti grossi. Although they were only published posthumously (1714), Corelli was performing these

works from the early 1680’s with a concertino trio formed by himself, second violinist Matteo Fornari, his favourite cellist Lulier, and the harpsichordist Bernardo Pasquini. These made up the small ensemble which played against the larger ripieno band: the effect, as his protegé Muffat remarks, is that ‘the ear is astonished by the contrasts of solo and tutti, forte and piano, as the eye is by the contrasts of light and shade.’

Duration: 10 minutes

ARCANGELO CORELLI (1653–1713)Concerto grosso in D major, op 6, no 7 Vivace—Allegro—Adagio Allegro Andante largo Allegro Vivace

Violin 1: Shelby YaminViolin 2: Manami MizumotoCello: Jin Nakamura

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‘Writing for a baroque ensemble today is a very different challenge from that facing the composers of the Baroque, who were discovering the possibilities and sonorities and delights of their new evolving medium, producing a perfect and varied repertoire in the process.In time steps out of line I did not want to imitate the music of the baroque era, and decided to give solo roles to some instruments, particularly the wind, less featured as soloists in the ensembles of

the time. While writing I found suggestions of harmony from other eras were creeping into the fabric of the piece, occasionally explicitly, usually more subtly, perhaps suggesting a dislocation in time.The title comes from At Home in Antarctica, a poem by Claire Beynon.’

Gillian Whitehead

Duration: 10 minutes

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.

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A near-exact contemporary of Bach and Handel, Rameau’s story is rather different. He didn’t write his first opera until he was over fifty. Dardanus was his second tragédie lyrique, premiered in 1739. Like so much of Rameau, the dances from this opera are some of the most addictively kinetic music written before Stravinsky. He managed to create astonishingly inventive effects by transforming straightforward Baroque dance-forms. The gavotte, for example, was one of Rameau’s favourites: tonight you will hear some very different ones, full of surprising textures. The rustic character of the tambourin and the rigaudon offer other, earthier

pleasures of sheer rhythmic propulsion. Over the course of his career, Rameau imaginatively transformed the French overture. The great chaconnes that end each opera—the classic form of cyclical harmony and order restored—become occasions for remarkable displays of theatrical gesture in the music. Note particularly the amazing moment when time stands still, suspended in a silent fermata, before returning to the deeply consoling theme of the opening.

Duration: 20 minutes

JEAN-PHILIPPE RAMEAU (1683–1764)Suite from Dardanus Ouverture Air pour les Plaisirs Air Gracieux Tambourins I & II

Rigaudons I & IISommeilGavotte ViveChaconne

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REGIONAL CONCERTS

KARAKA COLLECTIVE WELLINGTON Sun 29 Mar

TAURANGA Tue 31 Mar CROMWELL Thu 2 Apr

JUN BOUTEREY-ISHIDO ROTORUA Wed 22 Apr

WHANGAREI Sun 26 Apr WHANGANUI Sat 2 May LOWER HUTT Tue 5 May RANGIORA Thu 7 May CROMWELL Sat 9 May MOTUEKA Wed 13 May

DARROCH/COWAN DUO LOWER HUTT Wed 13 May WHANGANUI Fri 15 May

KERIKERI Sun 17 May TE AWAMUTU Tue 19 May ROTORUA Wed 20 May GISBORNE Sat 23 May

TAURANGA Sun 24 May WANAKA Sat 30 May

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, Elliot Vaughan Outreach Coordinator, Beckie Lockhart Finance Manager, Yvonne Morrison Operations Coordinator, Rachel Hardie Marketing Manager, Will Gaisford Senior Designer, Darcy Woods Ticketing & Database Executive, Laurel Bruce Content Producer & Comms Executive, Anna van der Leij Development Manager, Stephanie Kemp Business & Fundraising Administrator, Rafaela Gaspar

Branches Auckland: Chair, Roger Reynolds; Concert Manager, Bleau Bustenera Hamilton: Chair, Murray Hunt; Concert Manager, Sharon Stephens New Plymouth: Concert Manager, Cathy Martin Hawke’s Bay: Chair, June Clifford; Concert Manager, Jamie Macphail Manawatu: Chair, Graham Parsons; Concert Manager, Virginia Warbrick Wellington: Concert Manager, Rachel Hardie Nelson: Chair, Annette Monti; Concert Manager, Clare Monti Christchurch: Concert Manager, Jody Keehan Dunedin: Chair, Terence Dennis; Concert Manager, Richard Dingwall Southland: Concert Manager, Rosie Stather

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.

Join the conversation

Heather MillerB PeddieRoger ReynoldsMiles RogersAlison ThomsonPeter and Kathryn WallsTim Wilkinson and Lynette MurdochAnna WilsonBruce Wilson and Jill WhiteAnn Wylie

Trio Anonymous (10)Philippa BatesSarah BuistBernard and Kay CardRoger ChristmasAnne CloonanHamish ElliottTom and Kay FarrarLaurie GreigAnne HargreavesJan LarsenCaroline ListAE McAloonMargaret NielsenJudith PotterRory SherlockJohn and Kathryn SinclairMary SmitAnn TrotterJudith TrotterPatricia Unger

Key Founders’ Circle Members have included a gift to CMNZ in their will.

Ensemble: $10,000+Octet: $5,000 - $9,999Quintet: $2,500 - $4,999Quartet: $1,000 - $2,499Trio: $500 - $999

The above list includes donations between October 2018 and January 2020

Founders' Circle MembersAnonymous (1)Graeme EdwardsJoy KittowArnold and Reka SolomonsThe Estate of Jenni CaldwellThe Estate of Aileen ClaridgeThe Estate of Dale DensemThe Estate of Walter FreitagThe Estate of Chisne GunnThe Estate of Warwick Gordon HarrisThe Estate of Joan KerrThe Estate of Monica Taylor

Ensemble Anonymous (1)Kaye and Maurice ClarkPeter and Carolyn DiesslProfessor Jack C Richards

OctetJane KominikThe Lyons Family - in memory of Ian LyonsKerrin and Noel Vautier

Quintet Joy ClarkCollin PostArnold and Reka SolomonsDavid Zwartz

QuartetAnonymous (1)Roger and Joanna BoothJohn BoscawenRick and Lorraine ChristieDonald CullingtonJonathan CweorthPaul and Sheryl BainesBelinda GalbraithDame Jenny GibbsCatherine and Pat GibsonPeter and Annabel GrahamDavid and Heather HuttonLinda MacFarlaneElizabeth McLeay

Ngā mihi maiohaTo all of our generous donors who support CMNZ throughout the year.

We also thank our Business Partners: Bluestar, King & Queens Hotel Suites and Park Hotel.

Core Contest Funder

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

CORE FUNDER

Thanks to CMNZ Foundation for its support of CMNZ Trust

Principal Contest Sponsor

CONTEST FUNDING PARTNERS

NZCT CHAMBER MUSIC CONTEST PARTNERS

KEY FUNDING PARTNERS

FUNDING PARTNERS

The Adam Foundation Eastern & Central Community Trust One Foundation SOUNZ

CANZ Four Winds Foundation Otago Community Trust Trust Waikato

Community Trust SouthMt. Wellington Foundation Performing Arts Fund

TSB Community Trust Turnovsky Endowment Trust

NATIONAL TOURING PARTNERS

Level 4, 75 Ghuznee Street PO Box 6238, Wellington0800 CONCERT (266 2378) info@chambermusic.co.nzwww.chambermusic.co.nz