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Upcoming Events

NZSQ Encounters in Blenheim

Concert

This event is completely free and there's no need to register ahead of time. Just show up on the day!

Join us for an exciting opportunity to get up close and personal with some of Aotearoa's finest classical musicians. The New Zealand String Quartet - Te Rōpū Tūrū O Aotearoa - is visiting Blenheim on Saturday 18 May at 11:30am with NZSQ Encounters: a free, whānau-friendly performance of music you may never have heard before. Learn about centuries-old instruments, and discover music from the past and present, including music by young New Zealand composers. This is a short, relaxed concert for all the whānau to enjoy. See you there!

The New Zealand String Quartet is a charitable trust and we can't do what we do without the generous support of our donors. Please consider making a donation on the day of the concert to help us reach more communities like yours. Or, donate online here.

Chamber music is a genre of classical music characterized by its intimate setting and smaller groups of performers. The most common chamber music group is a string quartet, made up of two violins, one viola and one cello. Unlike a large orchestra, chamber music and string quartets allow for a deep connection between the performers and audiences.

The New Zealand String Quartet is working with other community spaces around New Zealand to create a relaxed and welcoming space for audiences of all ages to explore classical music. Learn about centuries-old instruments, discover music from the past and present, including music from young New Zealand composers, and ask questions about the life of a classical musician.

If you've never been to a chamber music concert before, or want to introduce the art form to your whānau and friends, NZSQ Encounters is the perfect place to start. Get up close and personal with the NZSQ, and delve into the magical world of chamber music.

May 18, 2024 11:30 — May 18, 2024 12:00   ·   Te Kahu o Waipuna - Marlborough Library
May 18, 2024 15:00   ·   Pathways at St Andrews, Palmerston North

NZ String Quartet | Soundscapes in Blenheim

Concert

We're delighted to return to Blenheim with its 2024 season Soundscapes. This performance marks the final opportunity for Blenheim audiences to experience the current line up of the quartet before the NZSQ bids a fond farewell to much-loved second violinist, Monique Lapins, who will soon embark on new artistic endeavours.

Programme:

Claire Cowan Celestia> <Terralia
Shostakovich String Quartet No.14
Interval
Brahms No. 3 in B flat major, Op. 67

The NZSQ premiered celebrated NZ composer Claire Cowan’s Celestia > < Terralia in February 2024. Utilising minimalist musical techniques, the piece takes its energetic structure from the movements between Earth and space- the countdown to a rocket launch, the release of gravity as a return to the womb, and the profound perspective shift that comes with observing Earth from a great distance. Shostakovich’s 14th string quartet is a deeply contemplative work, characterized by its stark emotional intensity, exploring themes of mortality and anguish through its haunting melodies and sparse textures. This beautifully balanced programme is rounded off with Brahms No.3 in B flat major, Op. 67 – a rich and melodic exploration of classical form and Romantic sentiment.

Don’t miss this opportunity to experience the current line-up of the NZSQ for a final time in an evening of musical brilliance and fond farewells.

This concert is generously supported by Whitehaven Wines.

May 18, 2024 19:30 — May 18, 2024 21:10   ·   The Whitehaven Room, ASB Theatre

NZSQ Encounters in Picton

Concert

This event is completely free and there's no need to register ahead of time. Just show up on the day!

Join us for an exciting opportunity to get up close and personal with some of Aotearoa's finest classical musicians. The New Zealand String Quartet - Te Rōpū Tūrū O Aotearoa - is visiting Waikawa Marae on Sunday 19 May at 12:30pm with NZSQ Encounters: a free, whānau-friendly performance of music you may never have heard before. This is an opportunity to learn more about the NZSQ musicians, the whakapapa of their instruments, their long history of collaborating with taonga pūoro, and hear an array of chamber music, including a piece that was inspired by birdsong in the Marlborough Sounds.

Arrive at 12.30pm and bring a picnic for lunch. The NZSQ will perform from 1.00pm - 2.00pm and there's an opportunity to meet the artists afterwards. This is a relaxed concert for all the whānau to enjoy. We look forward to seeing you there!

The New Zealand String Quartet is a charitable trust and we can't do what we do without the generous support of our donors. Please consider making a donation on the day of the concert to help us reach more communities like yours. Or, donate online here.

Chamber music is a genre of classical music characterized by its intimate setting and smaller groups of performers. The most common chamber music group is a string quartet, made up of two violins, one viola and one cello. Unlike a large orchestra, chamber music and string quartets allow for a deep connection between the performers and audiences.

The New Zealand String Quartet is working with other community spaces around New Zealand to create a relaxed and welcoming space for audiences of all ages to explore classical music. Learn about centuries-old instruments, discover music from the past and present, including music from young New Zealand composers, and ask questions about the life of a classical musician.

If you've never been to a chamber music concert before, or want to introduce the art form to your whānau and friends, NZSQ Encounters is the perfect place to start. Get up close and personal with the NZSQ, and delve into the magical world of chamber music.

May 19, 2024 12:30 — May 19, 2024 14:30   ·   Waikawa Marae

Stroma | Cage Against the Machine 2: Poutama

Concert

Riki Gooch | Poutama: 12 Steps of Ascension (PREMIERE)
Salina Fisher | woman 女 beneath a wave 波
Pauline Oliveros | A Fluting Moment, Antiphonal Meditation, Heart of Tones, Rock Piece
Michael Norris | Cirrus Drift
Hildur Guðnadóttir | From the other place
John Luther AdamsCanticles of the Sky, Roar
James Tenney | Harmonium #1 , Harmonium #7, Saxony
Alex Turley | Cloudscapes
John Cage | Five & One4
Salvatore Sciarrino | L’addio a Trachis
Felipe Lara | Meditation and Calligraphy
Toshio Ichiyanagi | Still Time III
Jonathan Harvey | Still
Dai Fujikura | Harahara & Inkling

CHOOSE YOUR OWN (SONIC) ADVENTURE. AGAIN.

Following the acclaimed ‘performance installation’ at Te Papa in 2023, Stroma return to play multiple, simultaneous performances of ambient, spatial music in the gorgeous gallery spaces of City Gallery Wellington. The centrepiece is a new work by Riki Gooch, Poutama, a work in four parts for improvising taonga puoro ensemble blending with the sounds of Stroma’s musicians.

Throughout the evening, surround yourself in meditative, hypnotic works by composers such as Salina Fisher, Hildur Guðnadóttir, John Luther Adams, Pauline Oliveros, Dai Fujikura, James Tenney, Jonathan Harvey, Alex Turley, Michael Norris, Salvatore Sciarrino and, of course, John Cage. You can come and go as you please. Have a drink at the bar, then wander around the spaces to experience the sound events. Follow the schedule, or see where your ear takes you.

May 23, 2024 19:30 — May 23, 2024 21:30   ·   CITY GALLERY WELLINGTON

Christchurch Symphony Orchestra | Whitehead, Kuusisto, Sibelius

Concert

Benjamin Northey | Conductor
Andrew Haveron | Soloist

Gillian Whitehead | Retrieving the fragility of peace
Kuusisto | Violin Concerto Op. 28
Sibelius | Symphony No. 2 in D Major Op. 43

Sibelius’ Symphony No. 2 was the first work that our Sibelius Academy-trained Chief Conductor Benjamin Northey conducted with CSO – we return to this gem of the repertoire in celebration of Ben’s tenth year at the helm. The Sydney Morning Herald reviewed one of his recent interpretations of the work with “it was one of those performances where everything comes together magnificently to create a halcyon moment of surprised delight.”

We pair Sibelius with another Finnish composer who local audiences will be thrilled to discover: Jaakko Kuusisto. The talents of British violinist Andrew Haveron will bring this virtuosic work off the page – as Concertmaster of the Sydney Symphony, and former Concertmaster of the BBC Symphony and first violinist of the Brodsky Quartet, he is an artist not to be missed.

The concert opens with a work written around the same time as Kuusisto’s concerto but on our shores: Dame Gillian Whitehead’s Retrieving the fragility of peace is dedicated to Lyell Cresswell, who passed away while she was writing the work, and she says “I think it may reflect something of the times we’re living in, but words can’t express as music does.”

June 15, 2024 19:30 — June 15, 2024 21:30   ·   Douglas Lilburn Auditorium

Orchestra Wellington | The Jazz Age

Concert

SOUNZ Commission for Orchestra and Arohanui Strings

Porgy and Bess | George Gershwin (1898 – 1937), arr. Russ Garcia (1916 – 2011)
Deborah Wai Kapohe
Eddie Muliaumaseali'í
Siliga Sani Muliaumaseali'í
Signature Choir

Gershwin based his opera on a 1925 novel by DuBose Heyward about a crippled Charleston man who got around on a goat-cart. The novel, turned into a play by DuBose and his wife, became a tremendously successful play. In 1934, Gershwin was invited to the Heyward’s summer house at Folly Beach, near Charleston. Catfish Row, the fictional location of Porgy and Bess, is based on a street in nearby James Island mostly inhabited by the Gullahs, descendants of the African coastal towns who made their living as fishermen and stevedores. Gershwin immersed himself in the Gullah’s musical and speech rhythms, and attended their religious revivals, which had their own unique vocal patterns. The result, which Gershwin called a folk opera, blended classical, jazz, gospel, spirituals and blues in a completely new way. The story of between Porgy, a crippled beggar blessed with optimism, and Bess, an outcast woman cursed with a violent jailbird boyfriend, is rich with drama, danger, love, danger and compassion.

Russ Garcia arranged the opera in 1956 for the second complete recording of the opera and the first to use, instead of classically-trained performers, jazz singers (in this case Mel Torme and Frances Faye) and musicians drawn from, among other groups, the Duke Ellington Band. Garcia recorded it again in 1957 with Ella Fitzgerald and Louis Armstrong in the lead roles, and a big orchestra of strings, horns and woodwinds. The album won a Grammy Hall of Fame award.

November 09, 2024 19:30   ·   Michael Fowler Centre, Wellington

Orchestra Wellington | A Modern Hero

Concert

Hour of Lead | Eve de Castro Robinson (1956-)
War Requiem | Benjamin Britten (1913 – 1976)
Morag Atchison - soprano
Benson Wilson - baritone
The Orpheus Choir of Wellington

Britten was steeped in the English choral tradition and its liturgical music. In 1962, he was able to fulfil his long-held desire to compose a large‑scale choral work when he was asked to provide music for the dedication of Coventry Cathedral, rebuilt after Luftwaffe bombs Coventry’s beloved 14th-century Cathedral. An important symbolic occasion, it allowed Britten to air in public his pacifist beliefs and his faith in humanity’s capacity for compassion. In a break from tradition, he blended the traditional Latin mass for the dead with nine of Wilfred Owens’ poems from WW1. In Britten’s own words, he offered the War Requiem as “an act of reparation”. On the title page of the score, he quoted the poet, "My subject is War, and the pity of War. The Poetry is in the pity …All a poet can do today is warn.”

The Requiem requires huge forces: a very large orchestra, a smaller chamber orchestra which accompanies the soloists, two organs, three soloists, main chorus, and boys’ choir. When it was first recorded, the Requiem sold 200,000 copies within five months — a rare example of a contemporary work that was immediately embraced by the public.

Stravinsky noticed, and sniped, "Behold the critics as they vie in abasement before the wonder of native-born genius. Kleenex at the ready, and feeling as though one had failed to stand up for God Save The Queen, one goes from the critics to the music…”

Britten could give as well as take, saying of Stravinsky’s The Rake’s Progress, "I liked the opera very much. Everything but the music."

December 07, 2024 19:30   ·   Michael Fowler Centre, Wellington
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