Alex Ross - chambermusic.co.nz Ross... · BERIO O King BOULEZ Improvisé ... LUCIANO BERIO...

1Alex Ross with Bianca Andrew & Stroma

Chamber Music New Zealand presents

Touring NZ 20 – 30 May 2018

Alex Rosswith Bianca Andrew

& STROMA

Presented in association with

Core FunderTour Partner

Supporting Partner

It’s not often you get to hear the world’s foremost music critic in person, accompanied by some of the most intriguing and beautiful music written for the 20th century. We welcome you to this exciting and varied programme with the celebrated critic and author Alex Ross, the hugely talented and much-loved young mezzo-soprano Bianca Andrew and the gifted musicians of STROMA who are always pushing boundaries and opening our ears. Chamber Music New Zealand’s promotion of such an interesting concert is to be admired and enjoyed.

Gillian DeaneChairDeane Endowment Trust

BERIO O KingBOULEZ Improvisé – pour le Dr. Kalmus XENAKIS CharismaGILLIAN WHITEHEAD ManutakiKAIJA SAARIAHO Oi Kuu DAVID LANG Short Fall

Alex Rosswith Bianca Andrew& STROMA

CHAMBER MUSIC NEW ZEALAND presents

THE REST IS NOISE: An exploration of the history of chamber music in the 20th and 21st century.

Sun 20 May, 4pm Auckland Town Hall* Mon 21 May, 7.30pm Gallagher Academy HamiltonTue 22 May, 7.30pm Theatre Royal New Plymouth*Thu 24 May, 7.30pm MTG Century Theatre NapierFri 25 May, 7.30pm Shed 6 Wellington*Sun 27 May, 6pm Nelson Centre of Musical Arts Mon 28 May, 7.30pm Glenroy Auditorium DunedinWed 30 May, 7.30pm The Piano Christchurch

The Auckland concert will be recorded for broadcast by RNZ Concert.

Alex Ross Author/Animateur

Bianca Andrew Mezzo Soprano

STROMA:Hamish McKeich Conductor/Co-Director

Bridget Douglas Flute

Patrick Barry Clarinet

Vesa-Matti Leppänen Violin

Andrew Thomson Violin/Viola

Ken Ichinose Cello

Emma Sayers Piano

This concert will include excerpts from the following seminal works:

Duration: 120 minutes – including interval

Full programme details listed on page 7

SCHOENBERG Pierrot LunaireRAVEL Chansons MadécassesBARTÓK ContrastsMESSIAEN Quartet for the End of TimeLIGETI Baladă și joc (Ballad and Dance) STRAVINSKY Three Songs from William ShakespeareJENNY MCLEOD For Seven- INTERVAL -

*Audio description service provided by Nicola Owen of Audio Described Aotearoa.

Auckland concert presented in

association with

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 tātouHaving spent more than a quarter of a century lecturing on music at Victoria University of Wellington (please let’s not change this name), I am in awe of Alex Ross’s gift for communication. What is so brilliant about The Rest is Noise and Listen to This is the way Alex manages to synthesise fascinating historical and social detail with intelligent musical analysis. Listening to this (whatever this happens to be) is always more enjoyable and focused after reading what Alex has to say.

The Rest is Noise did the impossible. It made a mass readership interested in “contemporary” music. The scare quotes here – and “scare” seems right in more ways than one – because some of this music is over a century old, but still thought to be challenging. STROMA was created to champion this repertoire – and they do a magnificent job of that. What better way of illustrating the intrinsic interest and the beauty of music from Schoenberg to Saariaho than to bring Alex and Stroma together? A programme based on seminal chamber works of the modern era would have to include Pierrot Lunaire. For that we needed Bianca Andrew – a wonderful, intelligent young New Zealander who is forging a spectacular career in Europe.

I was delighted that the Auckland Writers’ Festival were so willing to partner CMNZ for this tour. Their patrons will have been treated to Alex talking about his new book on Wagner and another more general session by the time you are reading this. I’d like to thank Anne O’Brien warmly for working with us on bringing Alex to New Zealand.

Professor Jack Richards has provided generous support for Bianca Andrew on this tour. Thank you, Jack. STROMA draws on key players from the NZSO, and I would like to thank the Orchestra for their assistance in ensuring that this tour integrated with their own schedules and for allowing their players to take part.

We are indebted to our tour partners, Todd Corporation, and supporting partners, Lion Foundation and the Deane Endowment Trust. Sir Roderick and Lady Gillian Deane are long-time friends of Chamber Music New Zealand.

Enjoy the concert,

Peter Walls ONZM

Chief ExecutiveMusic Up Close | Puoro TaupiriChamber Music New Zealand


Do you want more out of your concert experience? Come along to our free CMNZ Prelude Series. Enjoy artist Q&A sessions, pre-concert talks, panel discussions and performances.

FOR MORE INFORMATION:0800 CONCERT (266 2378) chambermusic.co.nz/prelude

PHOTO; ANDI CROWN

PRELUDE SERIES

A graduate of the Guildhall School of Music in

London and the New Zealand School of Music

in Wellington, mezzo soprano Bianca Andrew

began her career as an Emerging Artist with

New Zealand Opera. She is now based in

Germany, where she is a member of the

Opernstudio with Oper Frankfurt.

Bianca is known for her engaging performances

both in operatic and recital repertoire, and she

was the winner of the 2016 Kathleen Ferrier

Song Prize. Recent highlights include works by

Thomas Adès with the Cambridge Philharmonic,

Schumann with the London Symphony

Orchestra and Sir Simon Rattle, and the title role

in Handel’s Radamisto with Guildhall Opera.

Bianca is an alumna of the New Zealand Opera

School, and is generously supported by the

Dame Kiri Te Kanawa Foundation.

Bianca is also supported by Professor Jack

Richards for this tour.

BIANCA ANDREWMezzo Soprano

New Zealand born conductor Hamish McKeich

has forged an impressive international conducting

career alongside a passionate loyalty for

developing the repertoire of contemporary

and experimental music. He has established an

acclaimed partnership with the New Zealand

Symphony Orchestra since 2002 and is currently

their Associate Conductor. He has performed in

New Zealand, Australia, China, the Netherlands,

Italy, England, Germany, Austria, Switzerland,

France, Armenia and Lebanon.

Working regularly in Europe, and with all the

major orchestras in New Zealand and Australia,

McKeich performs in many musical genres,

orchestral, opera, ballet, filmscores and cross-over

projects. He has given over 100 world premieres

of new works and is also chief conductor of the

contemporary ensemble STROMA.

Initially a bassoonist, Hamish McKeich studied

conducting with legendary teacher and

pedagogue Professor Ilya Musin and also

prominent conductors Valery Gergiev, Sian

Edwards and Peter Eötvös. McKeich was a finalist

of the Gergiev Festival Conductors Masterclass,

under the guidance of Professor Ilya Musin and

Valery Gergiev.

In 2012 Hamish McKeich was awarded a Douglas

Lilburn Trust citation for services to New Zealand

music.

HAMISH MCKEICH Conductor, Co-Director STROMA

v

BIANCA ANDREWMezzo Soprano

STROMA is one of New Zealand’s finest

contemporary chamber ensembles, comprising

players from the NZSO and other freelance

Wellington performers. Since its inaugural concert

in 2000, STROMA has performed regularly, with

a repertoire of fresh, cutting-edge compositions.

STROMA has also been active in commissioning

new works from New Zealand composers.

Stroma has appeared at each New Zealand

Festival (of the Arts) since 2002, as well as the

International Jazz Festival 2003, the Wellington

STROMACathedral Festival 2003 and the Christchurch

Arts Festival (formerly Christchurch Festival of

the Arts 2005). They also toured for Chamber

Music New Zealand in 2004.

Critics have called STROMA "one of the most

interesting and original ensembles to have

emerged recently", describing its performances

as "vibrant and exhilarating", "stunning" and

"staggeringly fine".

Alongside regular guest Emma Sayers, this

particular ensemble of STROMA players also

hold prominent positions in the New Zealand

Symphony Orchestra: Associate Conductor

Hamish McKeich, Concertmaster Vesa-Matti

Leppänen, and Section Principals Patrick Barry,

Bridget Douglas, Ken Ichinose, and Andrew

Thomson.

Hamish McKeich STROMA Conductor/Co-DirectorBridget Douglas FlutePatrick Barry ClarinetVesa-Matti Leppänen violinAndrew Thomson violaKen Ichinose celloEmma Sayers piano


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Our Encore Supporters’ Programme is an especially valuable partnership, and you can be a part of it. Like the two languages in our brand, we hope that you will stand side by side with us by supporting Chamber Music New Zealand in 2018 as we continue to bring international artists to Aotearoa, nurture local talent and provide a springboard for our nation’s future musicians.

Puoro Taupiri | Music Up Close

ARNOLD SCHOENBERG (1874-1951)

“Mondestrunken” from Part One and “Nacht” from Part Two of Pierrot Lunaire (1912)

MAURICE RAVEL (1875-1937)

“Il est doux de se coucher”, from Chansons Madécasses (1923)

BÉLA BARTÓK (1881-1945)

“Sebes” (“Fast Dance”) from Contrasts (1938)

OLIVIER MESSIAEN (1908-1992)

“Danse de la fureur, pour les sept trompettes” from Quartet for the End of Time (1941)

GYÖRGY LIGETI (1923-2006)

Baladă și joc (Ballad and Dance) (1950)

IGOR STRAVINSKY (1882-1971)

“Full Fathom Five” from Three Songs from William Shakespeare (1953)

JENNY MCLEOD (1941-)

Sections F1 and G1 from For Seven (1966)

-INTERVAL-

LUCIANO BERIO (1925-2003)

O King (1968)

PIERRE BOULEZ (1925-2016)

Improvisé - pour le Dr. Kalmus (1969)

IANNIS XENAKIS (1922-2001)

Charisma (1971)

GILLIAN WHITEHEAD (1941-)

Excerpt from Manutaki (1985)

KAIJA SAARIAHO (1952)

Oi Kuu (For a Moon) (1990)

DAVID LANG (1957-)

Short Fall (2000)

ARNOLD SCHOENBERG (1874-1951)

"Gemeinheit!” and “O alter Duft” from Part Three of Pierrot Lunaire (1912)

PROGRAMME


Puoro Taupiri | Music Up Close

Some of the most ethereally beautiful

music of the past century was first heard on

a brutally cold January night in 1941, at the

Stalag VIIIA prisoner-of-war camp, in Görlitz,

Germany. The composer was Olivier Messiaen,

the work Quartet for the End of Time. Messiaen

wrote most of the piece after being captured

as a French soldier during the German

invasion of 1940. The premiere took place

in an unheated barrack. An inscription in the

score supplies a cataclysmic image from the

Book of Revelation: “In homage to the Angel

of the Apocalypse, who lifts his hand toward

heaven, saying, ‘There shall be time no longer.’

This is, however, the gentlest apocalypse

imaginable. The “seven trumpets” and other

signs of doom take the form of fiercely elegant

dances, whose rhythms swing along in intricate

patterns without ever obeying a regular beat.

Ultimately, Messiaen’s apocalypse has little

to do with history and catastrophe; instead, it

records the rebirth of an ordinary soul in the

grip of extraordinary emotion.

Music of the 20th century is often associated

with dissonance and difficulty. Many listeners

still struggle to accept the innovative language

that Schoenberg, Stravinsky, Bartók, and other

innovators devised, although it has become

familiar in other contexts, notably in the movies:

try to imagine 2001: A Space Odyssey without

ALEX ROSS Author, Animateur

Alex Ross has been the music critic of The

New Yorker since 1996. His first book, The

Rest Is Noise: Listening to the Twentieth

Century, won a National Book Critics Circle

Award and the Guardian First Book Award,

and was a finalist for the Pulitzer Prize. His

second book is the essay collection Listen to

This. He is now at work on Wagnerism: Art in

the Shadow of Music. Ross has received an

Arts and Letters Award from the American

Academy of Arts and Letters, the Belmont

Prize in Germany, a Guggenheim Fellowship,

and a MacArthur Fellowship.

the otherworldly soundscapes of György

Ligeti. As museum-goers have come to terms

with radical modern painting, perhaps

concert-goers are ready to accept this

outwardly challenging music, which contains

enclaves of secret beauty. For 20th century

composers were not merely instigators of

mayhem; they also embraced past traditions,

borrowed from folk and popular genres, and

discovered new realms of pleasure –

as in Messiaen’s ecstatic chorales and Kaija

Saariaho’s shimmering textures. As John Cage

once said, this has been a time of “many

streams,” intersecting in a vast delta of musical

possibility.

Our survey begins in 1912, when Schoenberg

wrote his surreal, hallucinatory song cycle

Pierrot Lunaire, and ends in 2000, when David

Lang wrote his vividly coloured, post-minimalist

piece Short Fall. You will hear a wide, wild

range of styles – from the ethereal precision

of Ravel’s Chansons madécasses to the

grungy assault of Iannis Xenakis’s Charisma;

from the abstract purity of Pierre Boulez’s

Improvisé to the political-spiritual charge of

Luciano Berio’s “O King,” written in memory

of Martin Luther King, Jr. We include two

New Zealand composers, Jenny McLeod and

Gillian Whitehead: the one reaches out to

the international avantgardism of Ligeti and

Stockhausen, while the other looks homeward,

evoking flights of swallows on the west coast

of the North Island. Bartók is represented by

a movement from Contrasts, which he wrote

for the great jazz clarinetist Benny Goodman;

Stravinsky, by a seldom-heard late-period

work, “Full Fathom Five” from Three Songs from

William Shakespeare.

Modern composers have often found

themselves at odds with the mainstream

classical music world, which tends to fear

the alienating effect of the unfamiliar. Some

of their finest works are written for tight little

bands of winds and strings – ensembles that

can be assembled quickly from the ranks of

musician friends. This was the intent behind

the then unusual ensemble of Pierrot Lunaire:

voice, flute, clarinet, violin, cello, and piano.

Messiaen’s Quartet is written for the even

more peculiar combo of clarinet, violin, cello,

and piano, those being the instruments that

were available in Stalag VIIIA. Huge worlds

can arise, though, from these intimate groups.

With the addition of the human voice, we

move into a realm of abstract music theatre:

opera made by a company of friends in the

dead of night, before the end of time.

–– ALEX ROSS


MICHAEL NORRISCo-Director STROMA

Michael Norris is Programme Leader,

Composition at the New Zealand School of

Music. He holds composition degrees from

Victoria University of Wellington and City

University, London. In 2003, Michael won the

Douglas Lilburn Prize, a nationwide competition

for orchestral composers. He has participated

in composition courses featuring leading

composers such as Peter Eötvös, Alvin Lucier,

Christian Wolff and Kaija Saariaho. His chamber

orchestra work Sgraffito was commissioned

by the SWR (Sudwestdeutsche Rundfunk) and

premiered at the Donaueschinger Musiktage

2010 by the Radio Chamber Orchestra Hilversum,

conducted by Peter Eötvös. In 2008, Michael

organised the CANZ Composers Conference

at the New Zealand School of Music and is

Secretary General of the Asian Composers

League. Michael maintains many active

connections with performers, ensembles and

composers worldwide, especially in Vienna,

where he often spends time.

The story of the 20th century is one

of a world undergoing rapid change. Global

trauma took place on an unprecedented scale.

Technological advances revolutionised travel

and communication, opening the world to

previously unseen and unheard-of cultures.

Scientific truths, held self-evident for centuries,

were suddenly destabilised by relativity,

uncertainty and incompleteness. Mass

consumerism reared its ugly head, with all its

attendant gloss and crass stereotypes.

And if art is a reflection of the world around us,

then this anxiety, uncertainty and popularism

had to present in music just as much as it was in

Picasso’s angular, tortured Guernica, Duchamp’s

snook-cocking Fountain or Roy Lichtenstein’s

cartoony Whaam!

Some composers, however, responded not so

much with reflection as with erasure: a blank

slate, a tabula rasa that deliberately avoided

any possible association with the major key,

emotionally overblown music that had been

co-opted by fascist regimes as the soundtrack

to mass genocide and societal indoctrination.

In doing so, some composers opened up a

whole new world of sounds that had been

previously prohibited. In 1952, for instance, John

Cage wrote a piece consisting of 4 minutes

and 33 seconds of silence. It both erases the

past, as well as opens our ears to the sounds

around us. In the act of contemplating silence,


Messiaen’s student Pierre Boulez is often

described as the enfant terrible of 20th century

music, as much for his polemic as for his

compositions. But in Improvisé — Pour le

Dr. K, there is a playfulness and exquisite detail

at work.

New Zealand composer Jenny McLeod, who

was once a student of both Messiaen and

Boulez, draws on the sounds and techniques

of her teachers in For Seven, but by her own

admission, suffuses the score with hints of New

Zealand birdsong. Gillian Whitehead’s Manutaki

features birds too: the Manutaki is the lead bird

in a flock, the music suggesting the flight of sea

swallows around the cliffs at Whatipu on the

west coast of Auckland.

In Kaija Saariaho’s Oi Kuu and Iannis Xenakis’s

Charisma, new sounds emerge from unusual

instrumental techniques: in the case of

Saariaho, they are fragile and elegant; in the

case of Xenakis, strident and brutalist.

David Lang’s Short Fall finally gets us to the 21st

century. Representing American minimalism,

his music loops, riffs and grooves, brings the

concert to a rousing finale. Except that we

leave the last word to Schoenberg: O Alter

Duft floats through clouds of nostalgically

consonant, if untethered harmonies. The

strange juxtaposition of the consonant and the

dissonant in this movement sums up, in one

piece, the beautiful paradoxes of 20th century

music.

–– MICHAEL NORRIS

Cage asks us to listen to our environment, to

listen to others: to be tolerant, and to open our

ears to new musical languages.

Tonight’s programme, then, takes us on a

whistle-stop tour of some of the main musical

languages of the twentieth century. It starts

with one of the most radical works of the first

decade: Arnold Schoenberg’s Pierrot Lunaire.

Written two years before the start of World

War I, Schoenberg sets an Albert Giraud poem,

featuring the commedia dell’arte clown Pierrot,

with dark surrealism and richly chromatic

harmonies.

Maurice Ravel’s Chansons Madécasses, on the

other hand, suggest another way to reinvent

music from within: by maintaining conventional

melody and harmony, but incorporating new,

exotic scales and chords from around the

world. Igor Stravinsky adopts Schoenberg’s

serialism in his setting of William Shakespeare’s

‘Full Fathom Five’ from The Tempest, but with a

typical Neo-classical crispness of line.

The internationalism of the mid-century is also

captured in down-to-earth, folkmusic-inspired

works by Hungarian composers Béla Bartók

and György Ligeti. Olivier Messiaen’s dance

from the Quartet for the End of Time is, on the

other hand, an altogether more celestial and

devotional one (the first six trumpets of the

Apocalypse followed by the trumpet of the

seventh angel announcing consummation of

the mystery of God).


Alfredo Bernardini Oboe

Paolo Grazzi Oboe

Dileno Baldin Horn

Francesco Meucci Horn

Alberto Grazzi Bassoon Giorgio Mandolesi Bassoon

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

REGIONAL CONCERTS

TORU (flute, viola, harp)Tauranga 20 May Rotorua 22 May Gisborne 25 May

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OL' KING COLE[piano, double bass, guitar]Geraldine 12 JuneOamaru 13 JuneWanaka 15 JuneCromwell 16 JuneGore 17 JuneMotueka 19 JuneWhanganui 21 JuneWarkworth 23 JuneTauranga 24 JuneWhakatane 25 JuneGisborne 27 June

THE KUGELS[soprano saxophone, violin, double bass, accordian]Motueka 25 July

KLARA KOLLEKTIV(clarinet, violin, piano)Whakatane 19 JulyWarkworth 21 JulyWhangarei 22 JulyRotorua 24 July Lower Hutt 26 JulyWhanganui 27 JulyWaikanae 29 July Wanaka 9 August



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