One might think that a recital composed entirely of unaccompanied Bach would not reveal the versatility of the performer.  In fact, it did.  The other thought is that it would pall for the audience.  Although I heard remarks afterwards from some audience members that they missed piano accompaniment, I don’t think this was a general reaction. However, I don’t believe I have been to a completely solo violin recital before... read more

I wouldn't dream of going so far as to say that I NEVER, EVER want to hear the Goldberg Variations played on a keyboard instrument again - but all the while the New Zealand String Quartet was performing this work in an arrangement made by Bach scholar (and harpsichordist!) William Cowdery, I was transported, wafted into a world of enchantment from which all keys, jacks, hammers and pedals -... read more

The Bach Choir is one of Wellington’s more distinguished choirs, founded in 1968 by the late Anthony Jennings, a notable harpsichordist and one of New Zealand’s leaders  in the revival of interest in the authentic performance of baroque and early music. Though the choir’s fortunes have fluctuated over the years, it has experienced a steady improvement in performance standards and confidence under Stephen Rowley. Vivaldi’s transition from a minor, one-piece composer... read more

In presenting performances of JS Bach's sacred cantatas in their original liturgical settings, Wellington's St.Paul's Lutheran Church is unique in New Zealand. The church is part of a network of world-wide Lutheran worship offering this same ministry, including the composer's own St.Thomas's Church in Leipzig. This practice was established at St.Paul's in 2007 by Mark Whitfield,  President of the Lutheran Church in New Zealand, and Pastor at St.Paul's in Wellington... read more

The inspiration for this concert of Mexican music, mainly liturgical, came from its coinciding with Mexico’s national day, celebrating independence from Spain in 1810 (though not from the economic colonisation by the country to their north). For all the cruelty of the conquistadors towards the pre-Colomban peoples, Spain had nevertheless planted a richer and in some ways a more permanent linguistic, cultural and religious character on the country, in the... read more

It was striking to see a red harpsichord that exactly matched the carpet in St. Andrew’s!  That was not the only euphony on Wednesday. Listening to lilting music on baroque instruments (and bows), in baroque style, was a pleasant way to spend a lunch-hour in the warm ambience of St. Andrew’s Church.. The first item was a surprise – ‘Gulliver Suite’ by Georg Philipp Telemann.  The excellent programme notes informed us... read more

This was the third of three concerts that offered various perspectives on the music of the Baroque period; the first for viols, the second for two harpsichords and this one for wind instruments. And their musical delights were enhanced by offerings of snakc and drinks afterwards. J J Quantz was a flutist, one of the principal musicians at the brilliant counrt of Frederick the Great who was himself a flute... read more

The lunchtime concerts at St Mark’s church on Woburn Road have been growing in popularity, and there seems to be a trend towards presenting music of greater substance over the past year or so. But that’s not the only pleasure in making the journey. The church has a light and open lobby where free tea and coffee are available before the concerts; and the church itself, with its high... read more

One of a series of concerts entitled "Musicke for Severall Friends", this one featured a close-knit partnership of two harpsichordists, playing both together and singly for the delight of a small-ish but dedicated Adam Concert Room audience. The "two-for-the-price-of-one" package featured two tutor-performers from the New Zealand School of Music, plus two instruments from the NZSM collection of keyboard instruments, copies of French (1769) and German (1728) harpsichords respectively... read more

The Tudor Consort, directed by Michael Stewart, performed Antoine Brumel’s monumental  Missa Et ecce terrae motus (The ‘Earthquake’ Mass) on Saturday 19 May at 7.30 in Wellington Cathedral of St Paul. The title is taken from the plainsong antiphon “Et ecce terrae motus” (And the earth moved) sung at the office of Lauds on Easter Sunday. The antiphon text describes the moment of Christ’s Resurrection: “And behold there was... read more