Piers Lane & Hiroshi Ikematsu - with members of the NZSQ Touring NZ: 5 - 12 October 2018 - Chamber Music New Zealand
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Chamber Music New Zealand presents
Piers Lane &
Hiroshi Ikematsu
with members of the NZSQ
Touring NZ: 5 - 12 October 2018
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0800 CONCERT (266 2378)
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from Otara attending our kids concerts, or
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0800 CONCERT (266 2378)
CHAMBER MUSIC NEW ZEALAND presents
Piers Lane &
Hiroshi Ikematsu
with members of the NZSQ
Piers Lane Piano
Hiroshi Ikematsu Double Bass
Monique Lapins Violin
Gillian Ansell Viola
Rolf Gjelsten Cello
Schubert | Adagio and Rondo Concertante, D. 487 Page 6
Rossini | Duo for Cello and Double Bass in D Major Page 7
Ross Harris | Orowaru (CMNZ commission) Page 8
~Interval~
Schubert | Piano Quintet in A Major, D. 667 ("Trout") Page 9
Friday 5 Oct 7.30pm The Piano CHRISTCHURCH
Sunday 7 Oct 5pm MTG Century Theatre NAPIER
Tuesday 9 Oct 7.30pm Theatre Royal NEW PLYMOUTH
Thursday 11 Oct 7.30pm Michael Fowler Centre WELLINGTON
Friday 12 Oct 7.30pm AUCKLAND Town Hall
DURATION: 105 minutes – including interval
Programme notes written by Sarah Chesney
*The Artists reserve the right to make changes to the programme.
The Wellington concert will be recorded for live broadcast by RNZ Concert2 Chamber Music New Zealand
Kia ora tātou
Welcome to a very special concert: Schubert’s just a couple of weeks ago. Check it out – and
“Trout” Quintet and a new commission from please subscribe. You won’t regret it.
Ross Harris that has its origins in the desire
CMNZ has been ensuring that New Zealand
of a keen and very generous trout fisher to
audiences have access to the very best
have a piece that evoked the soundscape of
chamber music for nearly seventy years.
the headwaters of the Tongariro River – all
Through our education and outreach
performed by artists of immense skill and
programme (with the secondary school’s
charm. I’d like to welcome Piers Lane and
chamber music competition at its heart) we
Hiroshi Ikematsu back to New Zealand – and to
have nurtured a love of chamber music in
say what a pleasure it always is to be working
generations of young New Zealanders. We
with members of the New Zealand String
couldn’t do this without your support. If you
Quartet. I’d like to thank our good friend Murray
are able, please help CMNZ to continue doing
Shaw for his support with this tour. We really
this now and in the decades ahead. Your
appreciate that, Murray.
donation is greatly appreciated. And, as I leave
This a great way to end CMNZ’s 2018 season. the organization, I am making provision in my
For me, these concerts are especially poignant will for CMNZ. Please think about joining me in
since I shall be retiring from Chamber Music investing in the future of chamber music
New Zealand at the end of the year. I have in Aotearoa.
greatly enjoyed working with wonderful
Signing off,
colleagues over the past four years. It has been
exciting and satisfying to have been involved
in planning a series of rich seasons. The aim has
been to provide artists of the highest quality
in as diverse a range of ensembles and genres
as possible: string quartets and piano trios, yes, Peter Walls ONZM
but the very best in early music and “crossover” Chief Executive
programmes that bridge classical and jazz Music Up Close | Puoro Taupiri
idioms too. We announced the 2019 season Chamber Music New Zealand
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.Piers Lane
London-based Australian pianist Piers Lane Piers Lane is in great demand as a collaborative
stands out as an engaging and highly versatile artist, and he continues his long-standing
performer, at home equally in solo, chamber partnerships with violinist Tasmin Little and
and concerto repertoire. His concerto repertoire clarinettist Michael Collins. He has written and
alone exceeds ninety-five works and has led to presented over 100 programmes for BBC Radio
engagements with many of the world’s great 3. In the Queen’s Diamond Jubilee Birthday
orchestras, working with conductors including Sir Honours he was made an Officer in the Order
Andrew Davis, Richard Hickox, Andrew Litton, Sir of Australia (AO) for distinguished services to the
Charles Mackerras, Maxim Shostakovich, Vassily arts. Since 2007 he has been Artistic Director of
Sinaisky, Yan Pascal Tortelier and Antoni Wit, and the Australian Festival of Chamber Music, and is
five performances at the BBC Proms. Artistic Director of the Sydney International Piano
Competition. From 2006 to 2013 he also directed
His extensive discography for Hyperion includes
the annual Myra Hess Day at the National Gallery
much-admired recordings of rare Romantic piano
in London.
concertos, the complete Malcolm Williamson
piano concertos, the complete preludes and In 1994 he was made an Honorary Member
études by Scriabin, transcriptions of Bach and of the Royal Academy of Music, where he
Strauss, along with complete collections of was a professor from 1989 to 2007. Piers holds
concert études by Saint-Saëns, Moscheles and Honorary Doctorates from two Australian
Henselt, and transcriptions by Grainger. He has Universities: Griffith and James Cook.
also recorded piano quintets by Arensky, Bloch,
Bridge, Bruch, Dvořák, Elgar, Harty, Pierné and
Taneyev with the Goldner String Quartet.4 Chamber Music New Zealand
Hiroshi Ikematsu
Born in Brazil in 1964, Ikematsu began studying including the Saito Kinen Orchestra, the JT Art
the double-bass in Japan at the age of 19 under Hall Chamber Music Series, and the MCO.
the guidance of Shunsaku Tsutsumi. After
Having gained the deep respect and trust of
graduating from the Toho School of Music,
many distinguished performers both in Japan
he frequently participated in Canadian music
and abroad, there is no end to the number
festivals, and studied further in Canada under
of musicians who want to perform jointly
Gary Karr. In 1989, he joined the NHK Symphony
with him. Ikematsu has kept a busy recording
Orchestra, and has served as its principal
schedule, having released five discs so far:
double-bass player since 1994.
"Opa, Contrabass!"; "Nova, Contrabass!"; "Five
Pursuing a broad range of solo and chamber Ave Marias;" "Rachmaninov Cello Sonata;"
music activities, Ikematsu is also energetically and "Japanese Songs." He has also appeared
involved in live music performances that go as a soloist on two CDs by the Japanese
beyond the boundaries of classical music; singer-songwriter Ayaka Hirahara: "Tomorrow"
sometimes solo, sometimes with an ensemble, and "Ave Maria!" In 2006, he left the NHK
and sometimes with five Silent Basses, Symphony Orchestra and moved to New
capturing the hearts of his audiences with his Zealand, becoming the principal double-
flexible approach. bass player of the New Zealand Symphony
Orchestra in May of that year.
Ikematsu has performed in numerous music
festivals both in Japan and elsewhere, Currently, he is a member of the MCO as
including Kurashiki Music Festival, the Miyazaki well as the Kioi Sinfonietta Tokyo, the Tokyo
International Music Festival, La Folle Journée Ensemble, and the Saito Kinen Orchestra.
au Japon, and the Dresden Music Festival. He Ikematsu is increasingly drawing attention as
has also performed with many ensembles, one of the world's top double-bass players.Monique Lapins Violin
Rolf Gjelsten Cello
Gillian Ansell Viola
Members of the NZSQ
The New Zealand String Quartet has established led to regular touring in the UK, Europe and
an international reputation for its insightful North America. The Quartet has also toured
interpretations, compelling communication, and in Mexico, Curaçao, Japan, Korea, China, and
dynamic performing style. The Quartet is known to Australia. Much-loved by audiences in
for its imaginative programming and for its New Zealand, the country's premier chamber
powerful connection with audiences of all kinds. ensemble presents an array of concerts in
venues all over the country each year.
The group's extensive discography includes all
the quartets by Mendelssohn, Bartòk and Berg, The New Zealand String Quartet has enjoyed
many New Zealand compositions, works by collaborating with musicians from all over
Ravel, Debussy, Mozart, Beethoven, Schubert, the globe, in a range of classical, jazz and
Dvořàk, Wolf, and the premiere recording of the world music genres. Collaborations with
remarkable Zoltán Székely quartet. In 2011 the classical musicians and ensembles have
Atoll Records release "Notes from a Journey”, a included performances with Piers Lane,
collection of works by New Zealand composers, Kathryn Stott, the Goldner String Quartet, the
won Classical Recording of the Year at the NZ BBC Scottish Symphony, the New Zealand
Music Awards. Their most recent recordings on Symphony Orchestra, The Song Company
the Naxos label include “Asian Music for String and Voices New Zealand Chamber Choir.
Quartet” and a disc featuring the complete Equally comfortable outside classical music,
chamber works for strings by Douglas Lilburn. the Quartet has collaborated with jazz greats
Mike Nock, Jim Hall, Wayne Marshall, and world
Acclaimed performances in London's Wigmore
music exponents such as Turkey's Omar Faruk
Hall and the City of London Festival, in New
Tekbilek, and New Zealand's Richard Nunns and
York at the Frick Collection, and in Washington's
Horomona Horo.
Library of Congress Coolidge Auditorium have6 Chamber Music New Zealand
FRANZ SCHUBERT (1797—1828)
Adagio and Rondo Concertante, D. 487
Adagio
Rondo. Allegro vivace
The piano’s unwavering energy drives Franz piano quartet – scored for violin, viola, cello, and
Schubert’s Adagio and Rondo Concertante, piano. The work displays Schubert’s propensity
as the strings echo and enhance its for complex part-writing. Indeed, the piano part
appealing tunes. in particular is a showpiece; when interleaved
with the strings the work becomes a delightful
While Schubert’s family expected him to
unfolding of melodies and embellishments.
return to teach at his father’s school in the
Beginning with a flourish, the piano and violin
autumn of 1816, the composer instead moved
sing an elegant melody in the Adagio. Spinning
from the family home to board in central
weaving lines, the piano continues to take the
Vienna with his dandified friend Franz von
lead. Meanwhile, the strings ebb back and forth
Schober, a writer. In setting Schober’s poems,
in their accompaniment, transporting us through
Schubert idealised music’s ability to soften the
these gentle musical gestures. Schubert increases
hardships of daily life; the Adagio and Rondo
the pace in the Rondo, introducing relentlessly
Concertante evokes the same sentiment. Not
decorative piano passages. The strings support the
yet twenty, Schubert’s compositions already
piano with their peppered accents and bustling
numbered more than 300 songs, four masses,
countermelodies. The premiere of the Adagio
and five symphonies. Nonetheless, none of
and Rondo Concertante only occurred long after
Schubert’s works had yet enjoyed public
Schubert’s death, in 1861.
performance in Vienna.
As part of this early output, the 1816 Adagio
and Rondo Concertante is Schubert’s only Duration: approx 14 minutesPiers Lane & Hiroshi Ikematsu with members of the NZSQ 7
GIOACCHINO ROSSINI (1792—1868)
Duo for Cello and Double Bass in D Major
Allegro
Andante molto
Allegro
Gioachino Rossini’s knack for penning The conversation flows freely between cello
dramatic operatic duets reveals itself in the and double bass in the opening Allegro. Each
Duo for Cello and Double Bass in D Major. part responds swiftly to the other in a jaunty
call and response. In the Andante molto, this
Gioachino Rossini caused a stir of excitement
seamless partnership continues. The double
when he arrived in London in late 1823. His
bass adopting an arpeggiated accompanying
operas were already hugely popular and the
role before the pair alternate their melodies
London aristocracy piled him with accolades,
once more. The final movement conveys a
invitations, and wealth. During the few months
light-hearted theatricality, reminiscent of the
he remained in London, Rossini met Domenico
impeccable comic timing of Rossini’s operas.
Dragonetti (1763—1846), a compatriot and
100 years after Rossini’s death the autograph
superstar double-bassist for whom he
manuscript of the Duo was auctioned by
composed the Duo for Cello and Double Bass
Sotheby’s in London, at last leading to its
in 1824. Dragonetti spent most of his life as an
publication.
orchestral and solo musician in London, where
his affable personality and professionalism
gained him further esteem. On his death The
Duration: approx 14 minutes
Musical World described Dragonetti as “the
greatest performer of his age on the double
bass”. Evidence of such talent emerges in the
rapidly repeating rhythms and sequences in
Rossini’s Duo. Dragonetti typically performed on
a three-string bass, tuned A—D—G which, as he
told Rossini, gave an evenly resonant sound.8 Chamber Music New Zealand
ROSS HARRIS (1945—)
Orowaru (the rippling sound of water)
Ross Harris’ newly-commissioned work, Harris has received commissions from leading
Orowaru, conjures up the depths and shallows New Zealand ensembles and soloists and
of the trout fishing havens released recordings of his works on Classical
of Aotearoa. labels Naxos and Rattle. Notable among Harris’
collaborators are the writers Witi Ihimaera, the
As one of New Zealand’s most eminent
librettist for his opera Waituhi, and Vincent
composers, Ross Harris’ works span
O’Sullivan, with whom he has written operas,
contemporary classical genres, including
symphonies, and song cycles.
chamber music, symphonic music, opera,
klezmer, and electronic music. A four-time Orowaru (the rippling sound of water) is an
winner of the SOUNZ Contemporary Award evocation of the sounds of trout fishing rivers
for outstanding compositional excellence and around Turangi, Lake Taupō New Zealand.
inspiration, Harris was also awarded an Arts There are three linked sections with the titles
Laureate and a Queen’s Service Medal for his taken from three rivers in the area:
contributions to music. A freelance composer 1. Hineaiaia River
since 2004, he has held composer-in-residence
2. Waipehi Stream
positions with the Auckland Philharmonic
3. Tongariro River
Orchestra and the New Zealand School of
Music. Previously, Harris composed and taught There is some birdsong and maybe the odd
at Victoria University of Wellington for many taniwha!
years, after studying there himself under
Douglas Lilburn.
Duration: approx 15 minutesPiers Lane & Hiroshi Ikematsu with members of the NZSQ 9
FRANZ SCHUBERT (1797—1828)
Piano Quintet in A Major, D. 667 ("Trout")
Allegro vivace
Andante
Scherzo. Presto
Andantino. Allegretto
Allegro giusto
The “Trout” Quintet remains a favourite among this colour as the punctuating rhythm loops
Franz Schubert’s works for its easy charm and from the bass to the piano’s upper register.
flowing melodies. In the Andante – more pensive in character
– the restful melodic lines take a darker turn,
Schubert’s 1819 “Trout” Quintet takes its name
accompanied by an insistent rhythmic figure.
from a popular song the young Austrian
The initial theme then returns, before Schubert
composer wrote in 1817, Die Forelle [The Trout].
introduces the playful hopping figure in the
The cellist Sylvester Paumgartner supposedly
third movement. The singing passages of
commissioned the quintet to play with a
the “Trout” are presented and imaginatively
group of his friends and requested Schubert
embroidered using a theme and variation
incorporate the earlier song’s melody. Schubert
structure in the fourth movement. The Allegro
met Paumgartner while travelling in Upper
giusto closes the quintet with dance-like
Austria with the baritone Michael Vogl over the
vivacity. Like the song that inspired it, Schubert’s
summer months; the repetitive structural form
Piano Quintet in A Major epitomises his
of the quintet suggests Schubert completed it
charismatic style and became one of the few
quickly before continuing on his journey.
works to enjoy publication and popularity
Unusually, Schubert included the double bass during his lifetime.
in the instrumentation (rather than two violins
typical for a piano quintet) to suit Paumgartner’s
ensemble, allowing him to mix a sound palette Duration: approx 38 Minutes
of great breadth. The first movement revealsThank You!
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issued for tax deduction purposes.THE GIFT OF CHAMBER MUSIC The generosity of our supporters ensures the future of chamber music in New Zealand. Your donation, whatever size, allows Chamber Music New Zealand to make a positive difference to the community through the magic of music. Year after year our supporters continue to nourish both young artists and audiences of the future by providing a rich diversity of local and international talent for our Music Up Close festival season and for our Chamber Music Contests which brings the exhilaration of being on stage to secondary school students. Please help realise the musical ambitions of all New Zealanders by giving to CMNZ’s Annual Appeal. Visit: chambermusic.co.nz/donate Phone: 04 802 0759 Email: encore@chambermusic.co.nz
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Staff IOANA CRISTINA GOICEA &
Chief Executive, Peter Walls ONZM ANDREY GUGNIN
Artistic Manager, Catherine Gibson
(violin, piano)
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