Michael Vinten’s intention in presenting these programmes was to draw attention to the art song as a creative form produced by New Zealand composers prior to 1950 (essentially the pre-Douglas Lilburn years for music composition in this country) and highlighting the activity as part of our cultural heritage before the Second World War – one that we are still in the process of discovering. Vinten was inspired by similar research... read more

This concert, like its predecessor on Friday 12 November, was delayed by the Covid-19 Level 4/3 restrictions in August and September, and was also displaced from the Hunter Council Chamber to St Peter’s Church. The change of venue was positive. Although the NZSQ has never performed in the church before, it is an excellent venue for chamber music, with its warm and rather dry acoustic contributing to a clear... read more

This concert was billed as a “Premium Concert Experience,” the kind of language that sets the teeth of a crusty old pedant like me somewhat on edge. It refers in this instance to a format involving tables instead of serried rows of chairs, with drinks and canapés served at the interval, a concept that also struck me initially as rather naff.  However, I ended up enjoying it... read more

I have written less of a review and more of an account of a listening journey, here, which seems, now that I have returned to where I began my listening, a pity to disturb or subject to more conventional reviewing strictures. I hope readers might enjoy this slightly different approach, marked by many moments on my part of wide-eared wonderment at such “age-old newness” as is conjured up by... read more

What a year for Chamber Music Hutt Valley! – a glance at my season ticket brings back ripples of musical pleasure as memories crowd in of concert following extraordinary concert, with only one pang of disappointment clouding the glow of satisfaction generated by the Society’s 2021 series. This was the cancellation of August’s “Sweet Chance” Vocal Duo presentation - Morag Aitchison (soprano), and Catrin Johnsson (mezzo), with Rachel Fuller... read more

Music today has a lot to thank Franz (Ferenc) Liszt for. Among his achievements throughout a life devoted to performing, composing, teaching, promoting, and collegially supporting and encouraging the art-form is his single-handed invention of the phenomenon we know today as “the piano recital”. On June 9^th,1840, in London at Hanover Square, Liszt gave the first of two London concerts that were advertised as “recitals”, the first documented occasion... read more

The perils of reviewer-conviviality are never so real as when one attends a concert of contemporary music, and sits next to someone in the audience one knows by sight but has never had a chance to talk with seriously, so most pleasantly spends the entire pre-concert time getting properly acquainted, as a result of which one completely forgets to read the concert’s programme notes before the lights are dimmed... read more

This was an unlucky concert from the first. It was originally scheduled for 27 June, but had to be rescheduled when Wellington went into Level 2 lockdown a few days prior. At some point the second violin (William Hanfling) and cello (Edith Salzmann) became unavailable: the first due to illness and the second being caught in a COVID-19 lockdown in Melbourne. When the Jade Quartet finally arrived to present this concert, Hanfling had been... read more

It was going to be something of a risk, programming a work by the NYO Composer in Residence against one of the greatest symphonies of the twentieth century. A risk – or an act of faith. Ihiara McIndoe’s Ephemeral Bounds was written in response to a visit to Antarctica last year, courtesy of the Antarctic Heritage Trust. It used less than half the players required for the Shostakovich, and scattered... read more

For as long as I can remember, Wellington Chamber Orchestra has been a player-run orchestra which engages conductors by the concert.  This, I suppose, has some advantages. It gives the orchestra maximum freedom and minimum financial commitments. But it also tries to provide solo opportunities for young musicians, and given the inevitable coming and going of people from one concert to the next, the result must be a certain... read more