chamber music new zealand presents anderson roe · piano duo chamber music new zealand presents....
TRANSCRIPT
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: [email protected]
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)
/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