Touring: 27 Sep - 15 Oct - with players from the Auckland Philharmonia Orchestra - Chamber Music New Zealand
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with players from the Auckland Philharmonia Orchestra
Touring: 27 Sep - 15 Octwith players from the Auckland Philharmonia Orchestra
Ralph Vaughan Williams | Six Studies in English Folk Song 8
Dmitri Shostakovich | Piano Trio No 1 9
Ben Hoadley | Cave Dances* 10
INTERVAL
Florence Price | “O Holy Lord” from Three Negro Spirituals, 11
“Elfentanz” and “The Deserted Garden”
Igor Stravinsky | L’Histoire du soldat (The Soldier’s Tale) 12
Bohuslav Martinů | La Revue de cuisine (The Kitchen Review) 13
90 minutes including interval | *New commission, world premiere
Sun 27 Sep, 5pm | Gallagher Centre for Performing Arts, Hamilton
Mon 28 Sep, 7.30pm | TSB Showcase, New Plymouth
Tue 29 Sep, 7.30pm | The Globe, Palmerston North
Wed 30 Sep, 7.30pm | Public Trust Hall, Wellington
Fri 2 Oct, 7.30pm | MTG Century Theatre, Napier
Sun 4 Oct, 5pm | Concert Chamber, Auckland Town Hall*
Sun 11 Oct, 5pm | Nelson Centre for Musical Arts
Tue 13 Oct, 7.30pm | The Piano, Christchurch
Wed 14 Oct, 7.30pm | Glenroy Auditorium, Dunedin
Thu 15 Oct, 7.30pm | Civic Theatre, Invercargill
The Auckland concert is being recorded * The Auckland concert is being audio described
for later broadcast by RNZ Concert provided by Audio Described Aotearoa2 Chamber Music New Zealand
Tēnā tatou
We are absolutely delighted to be Thank you to the Turnovsky
collaborating with the Auckland Endowment Trust who have
Philharmonia Orchestra to bring you supported the Wellington concert
this fabulous concert featuring their and where the use of the new Public
players and celebrating the music of Trust Hall is made possible through
the 1920s, with a twist of 2020 from the generosity of Maurice and
New Zealand composer Ben Hoadley Kaye Clark.
in his new work Cave Dances.
And to you, our audience, thank
As we head towards the end of you for supporting CMNZ as we
this momentous year, I’d just like venture in and out of the concert
to reflect on the plight of people hall. Our continuing aim is to bring
around the world affected by you great live concert experiences
COVID-19 – whether by contracting as and when we are able, in a safe
the virus itself or by having their environment for all – please do stay
world turned upside down by its with us on the journey.
impact. Here at CMNZ we also
I hope you enjoy your evening of
acknowledge the many challenges
the ‘20s!
faced by the arts sector – for arts
organisations and artists alike, as we
look to present concerts fraught with
on-going and potential restrictions
around gathering numbers, social
distancing, and travel.
Catherine Gibson
Chief Executive
Chamber Music New ZealandTales of the ‘20s 3
Jonathan Cohen Josh Rogan
(clarinet) (trumpet)
Born in New Orleans, Louisiana, Australian trumpeter Josh Rogan
clarinettist Jonathan Cohen joined is the Sub-Principal Trumpet of the
the Auckland Philharmonia as Auckland Philharmonia Orchestra, a
Principal Clarinet in 2020. A third- position he has held since 2018. He
generation clarinettist, Jonathan has performed in venues around the
began lessons with his father, Steve world including the Sydney Opera
Cohen, at the age of 10. House, Australia; Royal Albert Hall,
United Kingdom; Walt Disney Concert
Upon finishing his Master of Music
Hall, United States of America; Royal
degree from Juilliard, Jonathan
Concertgebouw, Netherlands;
went on to play with the Saint Paul
Shanghai Concert Hall, China; and the
Chamber Orchestra (SPCO) for three
Berlin Konzerthaus, Germany.
seasons. He has also appeared as
a guest member with the Orpheus He has performed with a number
Chamber Orchestra, The Knights of highly renowned ensembles,
Chamber Orchestra, International including the Los Angeles
Contemporary Ensemble (ICE), Philharmonic, Sydney Symphony
the Bavarian Radio Symphony, the Orchestra, and the New World
Cincinnati Symphony, the New York Symphony. As an orchestral player he
Philharmonic, and the Metropolitan has worked with many distinguished
Opera Orchestra, among others. conductors including Plácido
An avid educator as well, Jonathan Domingo, Christoph Eschenbach,
maintained a private studio in and Vladimir Ashkenazy. He has
Minnesota and continues to teach in also performed with internationally
New Zealand and the United States. recognised artists from Joshua Bell
to Kristin Chenoweth, and recorded
Jonathan’s major teachers have
albums with popular singers Anthony
been Steve Cohen, Nathan Williams,
Callea and Josh Pyke. As well as this,
Yehuda Gilad, Mark Nuccio, and
he is a published composer, and the
Anthony McGill. He holds degrees
author of 3 trumpet method books.
from the Manhattan School of Music
and The Juilliard School. Josh is a graduate of the University
of Melbourne, the Australian National
Academy of Music, and the Colburn
School.4 Chamber Music New Zealand
Ingrid Hagan Andrew Beer
(bassoon) (violin)
American born bassoonist Ingrid Violinist Andrew Beer has been
Hagan has been Principal Bassoonist described as a “musical gift” (NY
of the Auckland Philharmonia Times) with a “glorious string tone”
Orchestra since 2010. Prior to that she (Strad magazine). Andrew has
was a bassoonist with the New World served as Concertmaster of the
Auckland Philharmonia Orchestra
Symphony in Miami, from 2007. She
since 2014, and has performed as
has performed in Sweden, Cuba, guest Concertmaster with the CBSO
Venezuela, Guatemala, Panama, and (Birmingham), Hallé (Manchester),
Germany, with various ensembles, MSO (Melbourne), ASO (Adelaide)
including the festival ensemble of and VSO (Vancouver). As a chamber
Stuttgart. She was Principal Bassoon musician, he has performed at the
of the Breckenridge Music Festival in IMS Prussia Cove, Music@Menlo,
2009, where she performed Mozart’s Aspen, Tanglewood and Banff
Bassoon Concerto. festivals, and with Midori, Emerson
and Parker String Quartets.
Hagan attended the Manhattan
His NZ-premiere performance of the
School of Music, graduating in 2007
Ligeti Concerto was described as
and studying with Whitney Crockett a “consummate performance” and
(Metropolitan Opera Principal “one of the most exciting things I’ve
Bassoonist). She is currently on the heard for a while” (RNZ). Andrew
artists faculty of the University of has enjoyed exploring the music
Auckland, and has performed regularly of NZ’s many gifted composers,
throughout New Zealand with the and his debut CD with pianist Sarah
Koru Wind Quintet, NZSO, Auckland Watkins, 11 Frames, features 11 such
Chamber Orchestra, and Bay of Plenty composers. The CD was featured by
Symphonia. She lives in Auckland the NZ Listener as a Best Classical
Album of 2019, and described as a
with her husband and 2 rambunctious
“splendid partnership.”
boys.
Andrew performs on an 1845
Vuillaume violin, and an 1880 J.J.
Maire bow.Tales of the ‘20s 5
Chen Cao Sarah Watkins
(cello) (piano)
Described by world-class musician Sarah’s passion for accompanying
Mischa Maisky as “a wonderfully and chamber music has led to an
gifted incredible cellist”. A graduate impressive career as a performer and
of the Curtis Institute of Music, recording artist. A founding member
he was the first Chinese cellist of NZTrio for 16 years, she now enjoys
awarded the Bachelor of music a wide variety of collaborations with
degree in Curtis’s 90-year history. musicians all over Aotearoa.
Recently, Chen has completed
Official pianist for the Michael Hill
his Master of Music degree at the
International Violin Competition since
Juilliard School under the guidance
its inception in 2001 and the Gisborne
of Richard Aaron. He was heard in
International Music Competition since
approximately 100 events in music
2008, Sarah regularly appears as a
school all over in China, ranging
freelance player in the APO. In 2014
from the country’s capital Beijing
she recorded Chris Watson’s SOUNZ
to smaller cities such as Taiyuan,
Contemporary Award-winning
Datong, and Anhui.
“sing songs self” for solo piano
Chen has performed solo, chamber and orchestra with the NZSO. Her
music and with orchestra appearing numerous CD recordings with NZTrio
in venues such as the China National and other artists have been widely
Centre for the Performing Arts, praised by audiences and critics
Beijing Concert Hall, and Tianjin alike; ‘Sway’ (NZTrio, 2017) and ‘Gung-
Concert Hall. Chen’s growing career ho’ (2009, with trombonist David
took him to the Sapporo Concert Bremner) were both winners of the
Hall and Suntory Hall in Japan, Vodafone NZ Music Award for best
Verizon Hall at the Kimmel Centre for Classical Album.
the Performing Arts in Philadelphia,
A graduate of the University of
Carnegie Hall in New York, Helsinki
Canterbury, Sarah went on to earn
Music Centre in Finland, and Berlin
MM and DMA degrees from Juilliard.
Concert Hall in Germany.
She maintains an active private
teaching practice and is on staff at the
University of Auckland.6 Chamber Music New Zealand
Ben Hoadley
(composer)
Ben Hoadley has lectured at the include commissions by the Sydney
University of Auckland since 2007, Omega Ensemble, Professor Jack C.
and since 2019 at the Sydney Richards and the bassoon section
Conservatorium of Music. He holds of the Sydney Symphony. Ben’s
degrees in bassoon performance chamber opera “Miss Brill” (based
from the Sydney Conservatorium on the Mansfield short story) was
and the New England Conservatory premiered at the Art Gallery of NSW
in Boston, and has received in Sydney, as the opening concert
fellowships at the Australian National of their 2018 “Resonate” series. In
Academy of Music, Tanglewood 2020 Ben was awarded first place
Music Centre and Weill Music in the SOUNZ/BBANZ/CANZ Brass
Institute at Carnegie Hall. Ben Composition Prize and the NSW
studied composition with Edwin Flute Society Composition Contest.
Carr and later at the University
of Waikato receiving a Master of
Music with first class honours, and
the Lilburn Composition Prize. Ben’s
works have been performed by
the NZSO, Auckland Philharmonia,
Auckland Chamber Orchestra andTales of the ‘20s 7
Tales of the ‘20s
Today’s concert brings to life the territories of the defunct Habsburg
music of a decade one century empire, and the Weimar Republic
ago, a time of musical and literary struggled to foster some semblance
innovation epitomised by the work of democracy and nationhood amid
of Hemmingway, Picasso, and ongoing and often violent friction
Virginia Woolf against a background between Left and Right. Meanwhile,
of Jazz Age glamour as the world although the Allied nations had won
began its shaky recovery from the War, its casualties inflicted deep
cataclysm. The music composed physical and psychological scars
during this time often reflected upon their populations.
tumult and uncertainty, or—like
An array of musical styles
Stravinsky’s Histoire du soldat—
proliferated during the 1920s,
resulted directly from the dramatic
exemplifying different forms of
change in circumstances caused by
modernism to those of earlier in
war and revolution.
the century: the vast orchestration
All of the music in today’s and hyper-Romanticism of Mahler’s
programme dates from a time late works, Strauss’s chromatic,
during or soon after the conclusion psychoanalytic operas Salome
of an epoch-changing event. Not and Elektra, Stravinsky’s Rite of
only did the Great War of 1914–1918 Spring, and Second Viennese
result in the deaths of around School atonality and distillation
20 million people (including an continued to exert an influence
estimated 10 million civilians), but over many composers. But other
the subsequent influenza pandemic forms of modernism also manifested
killed millions more over the next themselves. Neoclassicism, jazz,
two years. Meanwhile, monarchies English folk song, and African-
and empires had fallen, their rulers American spirituals all played a role
deposed, exiled, or—in the case of in the lives of composers whose
the Tsar of Russia and his family— music tells vivid tales of the 1920s.
assassinated. The political and
social systems in which several of
the composers in this programme
grew up had collapsed: new nations,
including Martinů’s Czechoslovakia,
emerged from the former lands and8 Chamber Music New Zealand
RALPH VAUGHAN WILLIAMS (1872–1958)
Six Studies in English Folk Song
1. Adagio (‘Lovely on the Water’) 5. Andante tranquillo (‘She borrowed
some of her mother’s gold’)
2. Andante sostenuto (‘Spurn Point’)
6. Allegro vivace (‘As I walked over
3. Larghetto (‘Van Dieman’s Land’) London Bridge’)
4. Lento (‘The Lady and the Dragon’)
The Mukle sisters, including Ann The Studies reflect the composer’s
(piano) and May (cello), came from long fascination with English folk
a family of pioneering professional traditions, drawing on some of
women musicians in early twentieth- the songs that he had transcribed
century London. They regularly during his song collection trips in
performed chamber music and rural England. The music Vaughan
concerti with eminent colleagues Williams collected found its way
throughout Britain, North America, into his hymns, chamber works, and
South Africa, and further afield. At orchestral pieces, furnishing new
this time, the cello was considered melodic and harmonic possibilities.
by many to be an inappropriate
Of the songs present in Vaughan
instrument for a woman but Mukle,
Williams’s Six Studies we know,
who studied at the Royal Academy of
for example, that ‘As I walked over
Music from 1893 to 1897, impressed
London Bridge’ had been sung by
many critics. A New York review
a ‘Mr Deadman’ in Rodmell, Sussex,
from 1908 commented that Mukle’s
and ‘Mr Pamplin’ in Fen Ditton,
‘C string has the sonority of an organ
Cambridgeshire, both in 1906. ‘She
pipe—and the tone is not only big but
borrowed some of her mother’s
luscious. Technical difficulties have no
gold’ was sung by ‘Mr Hilton’ of
terrors for her, and in cantabile—the
South Walsham, Norfolk in April
broadly melodious passages which
1908. The Six Studies are not simply
are the speciality of this instrument—
transcriptions of these songs, but
she displayed a genuine musical
offer forms of fantasy upon them, all
feeling[…]’
examples of the rich English pastoral
The Mukle sisters and the ensembles renaissance in the decade following
in which they played gave many the ravages of World War I. This
premieres, and in 1926 they gave the arrangement for clarinet and piano
first performance of Ralph Vaughan evocatively preserves the pastoral
Williams’ Six Studies in English Folk atmosphere.
Song, a work that the composer
dedicated to May Mukle.Tales of the ‘20s 9
DMITRI SHOSTAKOVICH (1906–1975)
Piano Trio No 1, Op 8, Allegro con brio
In autumn 1919, Dmitri Shostakovich of developing TB and travelled to
enrolled in the Petrograd (formerly the Crimean Peninsula for sunshine
St Petersburg) Conservatory to and nourishment. He met and fell
study piano and composition. in love with Tatiana Glivenko, the
Shostakovich’s years of study at the daughter of a Moscow professor,
conservatory were characterised by and after returning to Petrograd in
difficult conditions: the upheavals the autumn, began work on a Piano
of the 1917 revolution still caused Trio in one movement, provisionally
chaos—there was limited public titled Poeme, which he respectfully
transport, no fuel for heating, and dedicated to Tatiana. The premiere
food was scarce. The composition took place in December 1923.
curriculum at the Conservatory
The piano writing in the Trio
had scarcely changed since the
sometimes reflects the music of
nineteenth century, but Shostakovich
Schumann and Liszt—Shostakovich’s
adhered to its requirements,
then favourite composers of
scrupulously completing the
piano music—but is still inimitably
work required of him. Outside the
Shostakovich. A critic who attended
classroom, he studied modern music
one of Shostakovich’s concerts
with other students and the older
wrote that: ‘In Shostakovich’s playing
musicians with whom he explored
one is struck by that same joyously
Schoenberg, Hindemith, and the
serene confidence of genius.
Parisian Les Six. He later wrote:
My words relate not only to the
‘I remember that time with a warm exceptional playing of Shostakovich,
feeling. We listened to a great deal but to his works as well. What a
of fine music and played much wealth of fantasy and astonishing
of it ourselves. My Conservatory conviction, confidence in one’s own
companions loved to make music. work … !’ The Trio illustrates the
To hear or play an unknown critic’s words. All its material derives
composition we were ready to from the chromatic motif that opens
cover at least ten kilometres on foot, the work, and the piece moves
at times even to skip supper.’ between episodes that are lyrical
In early 1923, Shostakovich was at risk and elegiac, or feverishly harsh, and
dramatic.10 Chamber Music New Zealand
BEN HOADLEY
Cave Dances
While much of the world was While definitely giving a nod to the
enjoying the roaring ‘20s, in New 1920s, my piece Cave Dances doesn’t
Zealand one of the hottest tickets was try to reconstruct the popular dance
to a ball held regularly in a giant cave music of the time, but rather aims to
on the remote northern tip of the evoke the mood of these events, the
Manukau Harbour. Guests arrived on picture I have in my mind of them,
horseback and by ferry to Whatipū and just the sheer incongruity of the
Lodge, and then walked in their finery venue. Written in three parts, I’ve
for more than a kilometre through woven a narrative into the music, but
the rugged coastal terrain to reach invite listeners to imagine their own
the cave, named Te Ana Ru, to dance images while hearing the work. The
well into the early morning to music outer movements are obviously the
played mostly on accordions. more dance-like, with the middle
movement suggesting the dark
The dances remained wildly popular
corners of the cave and surrounding
for many decades, a history that
beach and bush to which couples
sits uncomfortably now when one
would often disappear into during
considers that the area is of huge
the evening.
spiritual and ecological significance.
– Ben HoadleyTales of the ‘20s 11
FLORENCE PRICE (1887–1953)
‘O holy Lord’ from Three Negro Spirituals
Elfentanz
The Deserted Garden
Florence Prince is one of the while the CSO’s conductor, Frederick
USA’s foremost twentieth-century Stock, continued to support and
composers, producing music in a promote Price, other leading figures
variety of genres including chamber in the musical establishment did
and orchestral works, concerti, piano not: between 1935 and 1944 Price
and organ pieces, and a significant wrote five times, with exceptional
body of art song. Born in Little Rock, civility, to Serge Koussevitzky of
Arkansas, Price first learned music the Boston Symphony, asking for
with her mother before moving to consideration of her work. It appears
Boston where she studied piano, that the conductor never replied to
organ and composition at the New her personally—although two brief
England Conservatory, one of the responses from an administrator and
only American conservatoires that a secretary are extant—and never
would admit African-American performed Price’s music.
students at that time. Price then held
These three miniatures for violin
several prestigious teaching posts
and piano illustrate Price’s unique
at colleges in Little Rock and Atlanta
musical voice. Her arrangements of
and married in 1912.
spirituals—like Vaughan Williams’s
In 1927, Price and her family moved folk song studies—are far more
to Chicago to escape the relentless than transcriptions as ‘O Holy
and violent racial discrimination of Lord’ demonstrates, taking the
Arkansas. In Chicago, Price resumed melody of the spiritual as a point
composition study at the American of departure for a deeply poetic
Conservatory and Chicago Musical musical utterance. ‘Elfentanz’ is a
College, winning first prize in the work akin to some of Fritz Kreisler’s
1932 Wanamaker Competition for her violin pieces: witty and Romantic,
Symphony in E minor. The following but with a definite hint of jazz idioms.
year the Chicago Symphony ‘The Deserted Garden’, a lyrical and
Orchestra performed the work, the melancholic piece, is imbued in its
first time they played a piece by an outer sections with the character of
African-American woman. However, a spiritual.12 Chamber Music New Zealand
IGOR STRAVINSKY (1882–1971)
L’Histoire du soldat (The Soldier’s Tale)
1. Marche du soldat 4. Tango – Valse – Rag
2. Le Violon du soldat 5. Danse du diable
3. Petit concert
With the outbreak of the Great War soldier, in 1918, was understood
in August 1914, Stravinsky moved to be the victim of the then world
with his young family to Switzerland. conflict, despite the neutrality of the
After composing Firebird, play in other respects. Histoire du
Petroushka, and Rite of Spring for soldat remains my only stage work
Diaghilev’s Ballets Russes, the new with a contemporary reference.’
mode of life was very different. Cut
Stravinsky then created a suite
adrift from Russia, Stravinsky felt
version of L’Histoire du soldat
drawn to Russian folklore. He also
(without narrator or actors) and the
developed connections with many
arrangement for violin, clarinet, and
of the writers who found themselves
piano that we hear today.
in Switzerland. It was with one of
these authors, Charles Ferdinand The ‘March’ depicts the soldier
Ramuz, that Stravinsky created marching homewards. In ‘Le Violon
L’Histoire du soldat. The finished du soldat’ he pauses on his journey
piece, for instruments, narrator, two to play tunes beside a stream,
actors (Soldier, Devil) and a dancer unaware that the Devil is watching.
(Princess) received its premiere in In the third movement, having lost
Lausanne on 28 September 1918. At to the Devil in a card game all the
a time when many soldiers would money with which the Devil had
have willingly sold their souls to earlier bought his soul, the soldier
the Devil to escape the horrors reclaims his fiddle, and plays it
of warfare, Stravinsky remained joyfully in ‘Petit concert’, which
equivocal about the topicality of changes metre in almost every bar.
L’Histoire: The soldier learns that his caperings
awakened the comatose daughter
‘My original idea was to transpose
of a King, who rises from her bed
the period and style of our play to
and dances (‘Tango – Valse – Rag’).
any time and [to] 1918 and to many
The Devil reappears, but the Soldier’s
nationalities and none, though
virtuosic excesses (‘Danse du diable’)
without destroying the religio-
force the Devil to dance until he
cultural status of the Devil …. Our
collapses in contortions.Tales of the ‘20s 13
BOHUSLAV MARTINŮ (1890–1959)
La Revue de cuisine (The Kitchen Review)
1. Prologue 3. Charleston
2. Tango 4. Final
Martinů’s years at the Prague conceived as a stage work, a ballet
Conservatory were patchy: he was in ten sections concerning romantic
expelled in 1910 for ‘incorrigible intrigues between kitchen utensils
negligence’ and spent several (Pot, Lid, Twirling Stick, Dishcloth,
years wondering how he would and Broom). Jarmila Kröschlová, a
succeed as a musician, relying on leading Czech choreographer and
work in the violin section of the Expressionist dancer developed the
Czech Philharmonic to support his libretto, and Stanislav Novák directed
composing. After the war, Martinů the ballet that premiered at Prague’s
visited Paris with the Philharmonic, House of Artists in 1927 as Pokušení
and its atmosphere suited him. svatouška hrnce (‘The Temptation
In 1923, he returned to Paris on a of the Saintly Pot’). Martinů’s score
three-month scholarship to study also created excitement in Paris. The
composition and decided that Paris pianist Alfred Cortot was particularly
would remain his home. A strong enthusiastic, and in January 1930
Czech artistic community provided directed a performance of music
opportunities for collaboration, and from the ballet in the four movements
Martinů also studied the different we hear today.
forms of jazz that dominated the city’s
After the enigmatic Prologue,
nightlife. The jazz idioms that Martinů
Martinů’s Tango is a dark and
included in his music synthesized with
languorous movement, steering clear
his interest in the instrumental music
of Spanish pastiche or cliché but
of his Czech antecedents Dvořák and
redolent of the tango atmosphere.
Janáček, Renaissance polyphony, the
The Charleston begins in the same
‘high classicism’ of Mozart and Haydn,
veiled manner that the Tango
and the kaleidoscopic instrumental
concluded, but swiftly gains tempo
colours of Debussy and Stravinsky. All
and excitement before launching into
these elements fuse in La Revue de
a typical Charleston of intoxicating
cuisine.
joie de vivre. The Final recalls material
Like Stravinsky’s L’Histoire du soldat, from the Prologue but develops into
La Revue de cuisine was initially an extrovert convergence of stylised
Czech folk song and dance and jazz.
Programme notes © Corrina Connor 2020play your part
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FUNDING PARTNERS
The Adam Foundation SOUNZ Otago Community Trust TSB Community Trust
Eastern & Central Community Trust CANZ Community Trust South Turnovsky Endowment Trust
We also thank our Business Partners: Bluestar, King & Queen Hotel Suites
Audio Description tour Instruments donated by KBB Music
Cover illustration by Darcy WoodsLevel 1, Zephyr House,
82 Willis Street
PO Box 11540,
Wellington 6142
0800 CONCERT (266 2378)
info@chambermusic.co.nz
www.chambermusic.co.nzYou can also read
