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

MOZART / ANDERSON & ROE | Grand Scherzo Pg 5 (based on the Finale to Act I from Così fan tutte, K. 588) STRAVINSKY | Part I: The Adoration of the Earth from Le Sacre du printemps Pg 5ANDERSON & ROE | Hallelujah Variations (Variations on a Theme by Leonard Cohen) Pg 6SCHOENFIELD |“Boogie” from Five Days from the Life of a Manic-Depressive Pg 6 Interval PIAZZOLLA / ANDERSON & ROE | Oblivion; Primavera Porteña; Libertango Pg 7BRAHMS / ANDERSON & ROE | Wiegenlied “Good Evening, Good Night,” op. 49, no. 4 Pg 8BERNSTEIN / ANDERSON & ROE | West Side Story Suite Pg 8

DURATION: 120 minutes - including interval.

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

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

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

ANDERSON & ROE PIANO DUO

CHAMBER MUSIC NEW ZEALAND presents

1Anderson & Roe Piano Duo

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.

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.

2 Chamber Music New Zealand

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

Several 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. The farcical characterisation of

Mozart’s finale to Cosi fan tutte, the opening

“Grand Scherzo”, is a perfect example. 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. 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, Brahms

Wiegenlied, or Lullaby awakens similar

sentiments of adoration and reflection.

The poignant simplicity of Brahms melody-

driven song provides respite after three

dances, each powerfully evocative in different

ways. Igor Stravinsky’s ballet the Rite of Spring

stretched musical timbres and shunned

graceful ballet techniques. The composer’s

own arrangement for four hands harness all

the raw emotional drive of the original. Paul

Schoenfield’s “Boogie” from Five Days from

the Life of a Manic-Depressive epitomises the

American composer’s skillful blend of styles

and calls for dazzling virtuosity to depict the

powerful contrasts of a manic mind. Then,

the frenzied and intoxicating tangos by Astor

Piazzolla transfer the physical closeness of the

dance floor to the piano keys.

Leonard Bernstein – who would have turned

100 this year – composed the final work on the

programme. The West Side Story Suite, is also

based on a ballet (via the acclaimed musical),

and describes an ultimately tragic sequence

of events. New York’s star-crossed lovers were

never destined for a happy ending; Maria and

Tony’s melodies – as vivid and gripping as

ever in this piano arrangement – provide a

flourishing finale.

MOZART / ANDERSON & ROE Grand Scherzo

STRAVINSKYPart I: The Adoration of the Earth from Le Sacre du printemps

A defining work of the 20th century,

Igor Stravinsky’s Rite of Spring remains as

startling and powerful as ever. Over a century

after its legendary 1913 premiere in Paris sparked

an uproar, its savage rhythms and harmonic

daring continue to electrify audiences.

Narrating a pagan tribe’s rituals and sacrifices

to the gods of spring, the piece culminates

with the offering of a young virgin who dances

herself to death. At its core, the Rite of Spring is

about primitive instincts and emotions, from the

brooding omens at the work’s opening to the

terrifying abandon of “Dancing Out of the Earth”

heard at the conclusion to Part I.

This work symbolises the tumultuous socio-

political climate of the early twentieth century,

perhaps explaining why the work retains

such fierce impact today. Furthermore, the

music suggests rites that are universal to

human experience: the loss of innocence,

the poignancy of discovery, the claiming (or

reclaiming) of personal liberation. The Rite of

Spring transformed the face of culture, and

Stravinsky’s version for four hands brilliantly

displays the music’s clashing dissonances,

percussive edge, and overwhelming force.

In 1913, as today, Stravinsky’s ballet is, as the critic Louis Viullemin declared, “an admirable force of rhythm and life, of movement. A violence that delights in magnificent frenzy.”

All the wit and vigour of Mozart’s opera Cosi fan tutte distilled for the piano – six characters, one keyboard.

Mozart’s operas undoubtedly contain some

of his most astonishing music. Today, piano

students are constantly reminded to play

Mozart’s piano music as if it was an opera scene

filled with dramatic characters. The “Grand

Scherzo” sees the duo truly sink their fingers into

Mozart’s glorious opera literature.

The finale to Act I of Cosi fan tutte is at once

humorous, dramatic, romantic, and scandalous.

Here, two men, in disguise, venture to test their

fiancée’s faithfulness: Guglielmo, the lover of

Fiordiligi, attempts to seduce her sister Dorabella,

while Ferrando, the lover of Dorabella, pursues

Fiordiligi – a fiancée swapping of sorts. The

women reject their advances, and the finale

begins when the men burst into the room

and poison themselves. A bogus doctor soon

arrives, reviving the scheming men using a

large magnet. Conscious, but hallucinating,

Guglielmo and Ferrando demand a kiss from the

‘goddesses’ who stand before them. Although

the sisters are tempted, they furiously refuse the

men’s comical advances.

This arrangement captures the essence of

the scene in a highly pianistic and Mozartean

manner. The score is re-imagined as a playful

exchange between two pianists. Performed on

one piano, Elizabeth plays the roles of Fiordiligi,

Dorabella, and Despina (the sisters’ maid and

doctor-in-disguise), and Greg takes the roles of

Guglielmo, Ferrando, and Don Alfonso (an old

philosopher and friend of the men).

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 our 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.

SCHOENFIELD / ANDERSON & ROE “Boogie” from Five Days from the Life of a Manic-Depressive

The extravagance and virtuosity of “Boogie”, crossing folk, jazz, and dance styles and adding grand Romantic gestures, means Schoenfield’s music exhilarates.

“Boogie”, the fifth and final movement of Paul

Schoenfield’s Five Days from the Life of a Manic-

Depressive, aptly evokes an agitated, obsessive

battle between highs and lows. The bass and

treble lines work seamlessly together, yet each

line seemingly disrupts a regular rhythmic or

melodic pattern from taking shape. This constant

sense of development and novelty thrills

the ears.

Schoenfield, a former concert pianist, teaches

composition in his hometown, Detroit, at the

University of Michigan. Jazz, folk music, and

dance styles (as the movement’s title suggests)

influence the award-winning composer. His

ability to combine genres, and the relentless

energy and sparkle his music channels, has seen

Schoenfield frequently compared to Gershwin.

At the same time, the glissandi, rapid passages

across the piano’s range, and dramatic, heavy

chords recall the virtuosity of late-Romantic

piano concerti – an era in which the pianist-

composer Robert Schumann also famously

expressed his mania and split personalities as

musical characters.

In “Boogie”, the performers must prove their

immense technical dexterity performing the

rapid harmonic and metrical shifts on one piano

with musicality and flair.

6 MUSIC UP CLOSE

PIAZZOLLA / ANDERSON & ROE Oblivion Primavera PorteñaLibertango

7

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Let the unmistakable tango rhythms whisk you away to Argentina. Piazzolla’s trio of tangos display the variety within the genre, each piece expressing a distinctive mood.

Tango and piano duo performance share racing

heartbeats, physicality, and chemistry.

This transcription of Astor Piazzolla’s irresistible

melodies for four hands at one piano aims to

emulate the physical choreography of tango

dancers, the sonic textures of a tango band, and,

most importantly, the emotional spirit of

the tango.

All three of these tangos — the spicy and sassy

“Primavera,” the smoky, sultry “Oblivion,” and

the raw and risqué “Libertango” — incorporate

extended piano techniques as a metaphor

for the tango’s forays into forbidden territory.

Four-hand playing already hints at an intrinsic

eroticism, but these tangos dare to raise the heat

and intensity to another level: the duo boldly

invade one another’s personal space, while also

exploring regions of the piano that typically

remain unseen. The effect is at once sensual,

visceral, and highly dramatic.

Certainly, the tango remains one of the most

passionate and intimate forms of dance. It

inspires a surrendering of the mundane to a

world of heightened awareness and experience.

These three pieces will take you on a riveting

ride; lose yourself to the music’s pounding

aggression, then a haze of unconsciousness,

and, finally, to the precipice of desire.

BERNSTEIN / ANDERSON & ROE West Side Story Suite

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

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”.

BRAHMS / ANDERSON & ROE Wiegenlied “Good Evening, Good Night,” op. 49, no. 4

Brahms sent the manuscript of his Wiegenlied, or

Cradle Song, “Good Evening, Good Night”, to his

Viennese friends Bertha and Arthur Faber on the

birth of their second son in 1868. Brahms noted

on the title page that the piece was intended

“for cheery and general-purpose use”.

Popularly known as Brahms Lullaby, it delighted

listeners and amateur musicians when it

was published later that year. Brahms, often

considered a serious, symphonic composer, was

now heard in homes across Europe. The Lullaby’s

text comes from the folk tale collection Des

Knaben Wunderhorn (The Youth’s Magic Horn),

well-known to nineteenth-century German

speakers. Fittingly, the piece’s accompaniment

adopts an Austrian folksong that Bertha, herself a

singer, had introduced to Brahms years earlier.

The lullaby sweetly conjures memories of

comfort. One of the most beloved lullabies

around the world, it also happens to be a song

the duo’s mothers sang to them during their

earliest years. This arrangement aims to capture

the shift from wakefulness to dreamland, the

repeating patterns evoking the oscillations of

mobile over an infant’s crib.

“Lay thee down now and rest, may thy slumber be blessed.” Brahms Lullaby exemplifies the soothing effect of a sweet melody.

8 Chamber Music New Zealand

MUSIC UP CLOSEHelp Share The Joy

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

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

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

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

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

Will you play your part in presenting Music Up Close?

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

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

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

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

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

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

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

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

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

A MUSIC LISTENING MANIFESTO by Greg Anderson & Elizabeth Joy Roe

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Regional Presenters Marlborough Music Society Inc (Blenheim), Christopher's Classics (Christchurch), Cromwell & Districts Community Arts Council, Geraldine Academy of Performance & Arts, Musica Viva Gisborne, Music Society Eastern Southland (Gore) Arts Far North (Kaitaia), Aroha Music Society (Kerikeri), Chamber Music Hutt Valley, Motueka Music Group, Oamaru Opera House, South Waikato Music Society (Putaruru), Waimakariri Community Arts Council (Rangiora), Rotorua Music Federation, Taihape Music Group, Tauranga Musica Inc, Te Awamutu Music Federation, Upper Hutt Music Society, Waikanae Music Society, Wanaka Concert Society Inc, Chamber Music Wanganui, Warkworth Music Society, Wellington Chamber Music Trust, Whakatane Music Society, Whangarei Music Society.

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

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

/ChamberMusicNZ

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

REGIONAL CONCERTS

MAZZOLI TRIO

(violin, viola, cello )

Tauranga 11 March

Warkworth 18 March

Lower Hutt 26 March

Kerikeri 8 June

BEHN QUARTET

(violin, violin, viola, cello )

Kerikeri 14 April

Whangarei 15 April

Rotorua 18 April

Palmerston North 20 April

Wellington 22 April

Upper Hutt 23 April

Nelson 24 April

Invercargill 27 April

Cromwell 28 April

Christchurch 1 May

TORU

(flute, viola, harp)

Motueka 9 May

Gore 13 May

Lower Hutt 16 May

Wanganui 17 May

Warkworth 19 May

Tauranga 20 May

Rotorua 22 May

Gisborne 25 May

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

THANK YOU

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

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

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

National Touring Partners

Funding Partners

Core Funder Supporting Funder

National Business Partners

Regional Partners Education & Community Partners

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

Behn Quartet

Chamber Music New Zealand presents

For booking information visit

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

Core Funder

DVOŘÁK / JACK BODY / RAVEL & more

“The Behn Quartet stands out with a controlled powerful and

expressive sound” — De Uitkijkpost, Heiloo

Touring NZ: 14 April – 1 May