THE WORLD'S BEST YOUNG VIOLIN TALENT - QUEENSTOWN - Michael Hill International Violin Competition
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THE WORLD’S BEST
YOUNG VIOLIN TALENT
QUEENSTOWN
31 MAY – 3 JUNE 2019
AUCKLAND
5-8 JUNE 2019
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PREVIOUS WINNERS
Ioana Cristina Goicea Suyeon Kang Nikki Chooi
2017 ROMANIA 2015 AUSTRALIA | VIOLINIST, BOCCHERINI TRIO 2013 CANADA | FORMER CONCERTMASTER
METROPOLITAN OPERA ORCHESTRA
Sergey Malov Josef Špaček Bella Hristova
2011 RUSSIA | PROFESSOR AT THE ZÜRICH UNIVERSITY 2009 CZECH REPUBLIC | CONCERTMASTER, 2007 BULGARIA | ACTIVE SOLOIST,
OF MUSIC, VIOLIN, VIOLA, VIOLONCELLO DA SPALLA CZECH PHILHARMONIC 2013 AVERY FISHER CAREER GRANT RECIPIENT
Ning Feng Natalia Lomeiko Joseph Lin
2005 CHINA | ACTIVE SOLOIST 2003 RUSSIA/NEW ZEALAND | ACTIVE CHAMBER MUSICIAN 2001 TAIWAN/USA | FORMER FIRST VIOLIN JUILLIARD
AND RECORDING ARTIST AND PROFESSOR OF VIOLIN, ROYAL COLLEGE OF MUSIC STRING QUARTET, FACULTY THE JUILLIARD SCHOOL
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CONTENTS
The Competition, in full, is being live
streamed and available for viewing on
violincompetition.co.nz
Broadcasting p1
Vidoes and podcasts of the Competitors’
performances will be available on Haere Mai p2
youtube.com/MHIVC (video) and Competition Calendar p6
rnz.co.nz/violins
(high-quality audio) Prizes p7
International Panel of Judges p8
Voting for Michael Hill Audience
Prize p11
Official broadcasting partners
Collaborating Artists page p12
Quarter-final Round I page p14
Quarter-final Round II page p16
Semi-final Round III page p18
Final Round page p20
Meet the Auckland
Philharmonia Orchestra p22
Insider’s Guide p24
Competitors p25
Past Competitors p34
Past Judges p35
Career Development and
Community Outreach p36
Arancio Prize p37
Voting Procedures p38
Acknowledgements p41
MARI LEE, SOUTH KOREA/JAPAN PERFORMING AT THE
2017 QUARTER FINALS PHOTO: SHEENA HAYWOOD
HAERE MAI
WELCOME
2017 COMPETITOR OLGA ŠROUBKOVÁ FROM
THE CZECH REPUBLIC ON DEPARTURE AT THE
QUEENSTOWN AIRPORT PHOTO: SHEENA HAYWOOD
2
It starts here. The Michael Hill International Violin Competition stands for excellence,
opportunity, integrity and transformation; it is the launch-pad for violin virtuosos – the
foundation stone of brilliant musical careers.
With a prize package valued at over NZ$100,000, the Michael Hill International Violin
Competition shapes the artistry of 16 of the world’s finest young violinists. Musicians and
audiences alike are guaranteed an unparalleled experience.
From concert stages in sub-tropical Auckland and alpine Queenstown, New Zealand,
the globe’s best young violinists deliver platinum-plated performances over eight
magnificent days.
Our Philosophy Characterising a Michael Hill We believe:
A combination of exceptional technical Violin Competition Winner • Win or not, the value of participating
prowess and outstanding artistry are the in competitions is the hard graft the
Michael Hill winners will:
twin cornerstones of a professional violin musicians put into their preparation to
• Display the highest level of artistry and
career in the twenty-first century. The era be at their absolute peak. The intensity
prowess
we live in demands even more from young they encounter through the rounds is
• Possess intelligence, charisma and a
artists: communications expertise and the unparalleled in any other environment.
personality suited to the demands of
charisma and perseverance to cut through • Young artists have a variety of career
the professional musical world
the saturated market. options and platforms available, and,
• Exhibit unique personal and musical
The Michael Hill International Violin as evidenced by the varied career
qualities which will allow their talent to
Competition responds to these relentless paths of our past winners, we honour
shine through in a crowded market
industry demands by putting its focus and support whichever direction their
• Be versatile and adaptable to a wide
on empowering musicians – nurturing vocation and opportunities take them.
range of musical situations and styles
the musical and non-musical skills they • In this competitive and technologically
• Possess the ability, stamina, and
need to launch and maintain long and complex market in which our winners
perseverance to sustain a long and
successful careers. will find themselves, a successful artist
meaningful career.
must recognise and embrace the need to
be a skilled performer and communicator
as well as a fine musician.
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The Michael Hill International Violin Competition
has raised the bar for violinists and string players
Welcome to the Michael Hill International Violin
Competition. Every year I am astounded by the
Patrons
in this country – inspiring our upcoming young array of talent and am so proud to be welcoming Rt. Hon. Helen Clark
players to reach for the stars. It has also been you to this alpine retreat to share your wonderful (Prime Minister of NZ 1999-2008,
a positive step on the career paths of previous music. As a youth, my dream was to be a Former Administrator of the United
winners, with many now holding prestigious concert violinist, and, although my life has taken Nations Development Programme)
roles in world-class orchestras and enjoying a different direction, all of you inspire me with Sir James Wallace KNZM
international careers as solo performers. your dedication, your skill, and your artistry. I
I would like to take this opportunity to thank myself am a firm believer that if you set goals
Sir Michael Hill, Christine, Lady Hill and other and take daily steps to achieve them, you can be
generous sponsors for their commitment to this successful, so I can’t wait to hear what you have
competition. to share.
It is thanks to their support that young
players come here, from all around the globe, Sir Michael Hill KNZM
to play for us. In return, these exceptional Founder
musicians get to experience New Zealand culture
and hospitality, including the natural beauty of
Queenstown, host to the quarter-finals.
To tonight’s finalists – the very best of luck.
I am sorry not to be able to join you for what I am
sure will be an exhilarating evening of musical
excellence.
Rt. Hon. Jacinda Ardern
Minister for Arts, Culture and Heritage
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New Zealanders are both individual self- For these 10 days in June, the focus of I know of no other competition which
starters and team-driven achievers. The attention for all lovers of the violin and violin nurtures the careers of its laureates to the
country is brimming with idiosyncratic and music will be on this great event here in extent that the Michael Hill International
extraordinary success stories. New Zealand. No one will be more focused Violin Competition does. It could well be
Little wonder, then, that Kiwis routinely during this time than the 16 quarter finalists dubbed the friendliest violin competition in
go to remarkable lengths to support the who have been lucky enough to be chosen the world—mostly due to the amazing staff
competitors in the Michael Hill International to participate. These young violinists, stars and volunteers who organise every facet
Violin Competition. Hard work, individual of the future, will become familiar names and cater for every need, and of course, the
effort and shared experiences characterise to music lovers over the next decades as fantastic Kiwi hospitality.
these violinists’ efforts – values that New they take their rightful place on the concert Once again, we have a distinguished
Zealanders understand. stages around the world. international panel of judges this year and
The “Michael Hill” profoundly impacts This particular competition seeks to I thank them in advance for their diligence
every single competitor. They polish and encourage each competitor to not only give and integrity. It is no easy task to adjudicate
mould their futures here. On the way they of their best, but also to show the aspects of when the standard is so exceptionally high
build their artistic muscle. their musical personality which are unique to but as in past years, I am sure they will apply
Thus, when a brilliant young musician themselves. Not only must they show their their considerable expertise to the task. The
wins this top global violin competition, it is virtuosity (which every competition requires), quality of judging over the years has been a
against the background of rapt audience they will have to show their collaborative skills hallmark of this competition and is a major
support for all. And it doesn’t stop there. Our in the chamber music round, performing with reason for the high regard in which this event
organisation joyously follows the career path established musicians who they have just met. is held.
of its laureates. I have curated this competition I hope that when you hear the standard
On the home front, our educational and since 2005 and it is both fascinating and of our competitors, you will agree with me
outreach programmes across the country heartening to watch the progress of each that the future of violin playing is in very
ensure that Kiwis have the opportunity to competitor as they grow in confidence capable hands.
learn directly from the masters and can be through the various rounds. It is also
cognisant of what it takes to have a shot on gratifying to follow the considerable success
of our past laureates in the demanding careers
Dene Olding
the world stage. Artistic Adviser
that they pursue. This event aims to test
Michael Hill International Violin Competition;
Anne Rodda all aspects of musicianship and violinistic
ability which will help these talented young First violinist Goldner String Quartet and
Executive Director people prepare for the musical and personal Australia Ensemble; Concertmaster Emeritus
demands they will inevitably encounter. Sydney Symphony Orchestra
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NEW ZEALAND-WIDE
COMPETITION
EVENTS
CHRISTCHURCH
29 May Masterclass with Clara-Jumi Kang
WELLINGTON
30 May Masterclass with Anthony Marwood
QUEENSTOWN
30 May Classroom Conversations
31 May – 1 June
Round I
2-3 June Round II
AUCKLAND
5 June Classroom Conversations
5 June Round III
6 June Masterclasses with James Ehnes,
Mauricio Fuks and Clara-Jumi Kang
6 June Round III
7 June Masterclasses with Anthony Marwood
and Ning Feng
8 June Workshops with Wilma Smith and
Dene Olding
8 June Final Round
For full details visit violincompetition.co.nz
LUKE HSU, USA, OUR 2017 2ND PRIZE WINNER PHOTO: SHEENA HAYWOOD
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PRIZES
2nd PRIZE BEST PERFORMANCE OF NZ
NZ $10,000 COMMISSIONED WORK
NZ $2,000
donated by Dame Jenny Gibbs
1st PRIZE
NZ $40,000 cash CHAMBER MUSIC PRIZE
3rd PRIZE
NZ $2,000
NZ $5,000
donated by
donated by
Bill & Frances Bell
Jenny & Chas Roberts Diane Huh
SOUTH KOREA/NEW ZEALAND
+ Recording on the Atoll label ARANCIO PRIZE
4th PLACE 2019 NEW ZEALAND EMERGING
Two year loan of Ex-Christian ARTIST PRIZE RECIPIENT
NZ $3,000
Ferras Nicolo Amati violin, BORN 1996
donated by
Cremona 1645 Diane Huh has received many
Peter & Carolyn Diessl
facilitated through Rare Violins prizes as a soloist, starting with
+ Winner’s Tour in 2020 in Consortium
presented in partnership with 5th PLACE the Most Promising Award in the
NZ $2,000 New Zealand National Concerto
NEW ZEALAND EMERGING Competition at the age of 16. The
donated by
ARTIST PRIZE following year she was selected
Janet & Russell Jones
The prize includes a two-year as a semi-finalist in the Gisborne
6th PLACE loan of a Riccardo Bergonzi International Competition and
NZ $1,000 violin, a suite of customised in 2019 she won first prize
+ Personalised Professional donated by Eric Johnston professional development and in both the National Concerto
Development Programme & Alison Buchanan performance opportunities, Competition (Christchurch) and
plus an invitation and return the Gala Soloist Competition at
+ Custom-designed suit or airfare to attend the 2020 the University of Auckland.
gown to wear on his or her Rome Chamber Music Festival. Diane has been a Fellowship
Winner’s Tour Programme member of the New
Zealand Symphony Orchestra.
As a concertmaster, she has
led her high school orchestra
(Christchurch Girls’ High) and the
+ Michael Hill gold and diamond University of Auckland Symphony
pendant from Christine Hill’s Orchestra. Her chamber group, the
Spirit Bay Collection, based on Korimako Trio, recently won the
iconic New Zealand shell the Royal Overseas League Chamber
Totorere Competition and received a
scholarship grant, worth $50,000.
Supported by
Dr Bill & Rosie Sanderson
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2019 INTERNATIONAL JUDGES The artists serving on the International Jury embody the glorious traditions of violin playing from all over the world. Mindful of the possibilities available and multi-faceted skills required for a successful career as a violinist in the 21st century, these judges represent various pathways, and among them typify soloists, chamber musicians, recording artists, pedagogues, orchestra leaders and conductors of the highest standards. QUEENSTOWN HOST KERRY STEVENS INTERVIEWS THE 2013 INTERNATIONAL PANEL OF JUDGES. FROM LEFT: NING FENG, DENE OLDING, IDA KAVAFIAN, KERRY STEVENS, JAMES EHNES, HELENE POHL, DMITRY SITKOVETSKY AND CHRISTIAN ALTENBURGER PHOTO: SIMON DARBY 8
Dale Barltrop James Ehnes Mauricio Fuks
AUSTRALIA CANADA URUGUAY/USA
Brisbane-born violinist Dale Barltrop is James Ehnes has established himself as one of the Mauricio Fuks began his violin studies in his native
Concertmaster of the Melbourne Symphony most sought-after violinists on the international stage. Uruguay with Ylia Fidlon, a pupil of Leopold Auer. After
Orchestra and First Violinist of the Australian String Gifted with a rare combination of stunning virtuosity, graduating from The Juilliard School of Music, where
Quartet. He previously served as Concertmaster serene lyricism and an unfaltering musicality, Ehnes he studied with Joseph Fuchs and Ivan Galamian, he
of the Vancouver Symphony Orchestra in Canada is a favourite guest of many of the world’s most furthered his studies with Jascha Heifetz.
and Principal Second Violin of the St Paul Chamber respected ensembles and regularly performs with In 1964, he won first prize at the ‘Young Concert
Orchestra in the United States, having performed orchestras such as the Chicago, London, Vienna and Artists’ Competition. Following a distinguished career
with all of these orchestras as soloist and director. NHK symphony orchestras and the Los Angeles, New as concertmaster, chamber musician, and soloist, he
Barltrop has also appeared as Concertmaster of York, Munich, London and Czech philharmonics. now devotes himself entirely to pedagogy.
the Australian World Orchestra under Sir Simon In 2017, Ehnes premiered the Aaron-Jay Kernis Mauricio Fuks has been a visiting professor
Rattle, guest director of the Australian Chamber Violin Concerto with the Toronto, Seattle and at the Yehudi Menuhin School, England, the
Orchestra, ACO2, and the Camerata of St John’s Dallas Symphony Orchestras, and his live recording Hochschule fur Musik ‘Hanns Eisler,’ Berlin,
chamber orchestra in Brisbane. He has performed of the work for Onyx Classics with Seattle the Reina Sofia School, Madrid, as well as the 9
International Chair of Violin Studies at the Royal
at numerous music festivals across North Symphony and Morlot won two GRAMMY awards.
Northern College of Music, Manchester.
America, including Mainly Mozart, Festival Mozaic, Ehnes was awarded the 2017 Royal Philharmonic
He has given masterclasses at the Scuola
Music in the Vineyards, Yellow Barn, Kneisel Hall, Society Award in the Instrumentalist category.
di Musica in Fiesole, the Royal Conservatory in
Tanglewood and the New York String Seminar. Ehnes performs recitals regularly at Wigmore
the Hague, the Barratt Due School in Oslo, the
Barltrop began his violin studies in Brisbane, Hall, Carnegie Hall, Symphony Center Chicago, Royal Academy of Music in London, the CNSM in
made his solo debut with the Queensland Amsterdam Concertgebouw, Ravinia, Festival Paris, as well as the Shanghai and Beijing National
Symphony Orchestra at the age of 15, and was de Pâques in Aix, and the Salzburg Festival. He Conservatories.
Concertmaster of both the Queensland and has collaborated with artists including Leif Ove His summer activities have included the
Australian Youth Orchestras. He moved to the Andsnes, Louis Lortie, Yo-Yo Ma, Renaud Capucon Salzburg, Britten-Pears, Aurora, Villefavard
United States in 1998 to attend the University and Yuja Wang, and in 2010 formally established (as Artistic Director), and Verbier festivals. He
of Maryland and continued his studies at the the Ehnes Quartet. Ehnes is the Artistic Director of continues to participate in the Sarasota Festival,
Cleveland Institute of Music. His teachers have the Seattle Chamber Music Society. Florida, and the Orford Academy, Quebec, Canada.
included William Preucil, Gerald Fischbach, the Ehnes began violin studies at the age of five, Mauricio Fuks has served as jury member
members of the Guarneri Quartet, Elizabeth became a protégé of the noted Canadian violinist of numerous international competitions. He was
Morgan and Marcia Cox. Francis Chaplin aged nine, and made his orchestra featured in The Strad of March 1993 and was
debut with Orchestra Symphonique de Montréal appointed honorary member of the Royal Academy
aged 13. He continued his studies with Sally of Music in 1999.
Thomas at the Meadowmount School of Music and In addition to his position as Rudy Professor
The Juilliard School, winning the Peter Mennin Prize of Violin at the Indiana University Jacobs School
for Outstanding Achievement and Leadership in of Music, he is visiting professor at the Kronberg
Music upon his graduation in 1997. Academy Masters in Germany.
James Ehnes plays the “Marsick” Stradivarius
of 1715.
9Clara-Jumi Kang Anthony Marwood Ning Feng
SOUTH KOREA/GERMANY UNITED KINGDOM CHINA
An artist of impeccable elegance and poise, Clara-Jumi British violinist Anthony Marwood is known Ning Feng is an internationally recognised artist
Kang has carved an international career performing with worldwide as an artist of exceptional expressive noted for his impeccable technique and silken
the leading orchestras and conductors across Asia and force. He is Principal Artistic Partner of the tone. The Berlin-based Chinese violinist performs
Europe. Winner of the 2010 Indianapolis International celebrated Canadian chamber orchestra, Les across the globe with major orchestras, such
Violin Competition, Kang’s other accolades include 1st Violons du Roy. as the Konzerthausorchester Berlin and BBC
prizes at the Seoul Violin Competition (2009) and the
In recent years, Marwood has worked with Philharmonic Orchestra, and conductors such
Sendai Violin Competition (2010).
the Boston Symphony, St Louis Symphony and as Iván Fischer, Jaap van Zweden and Giancarlo
Kang regularly performs with leading European
orchestras including the Leipzig Gewandhaus, Cologne Vienna Radio Symphony, as well as the New Guerrero. He performs recitals and chamber music
Chamber Orchestra, Kremerata Baltica, Rotterdam Zealand and Tasmanian Symphony Orchestras, the concerts at venues such as Concertgebouw
Philharmonic, Orchestre National de Belgique and the Australian Chamber Orchestra, and the Auckland Amsterdam and Wigmore Hall London, and has
Orchestre de la Suisse Romande. In the USA, highlights Philharmonia Orchestra. appeared at major festivals including Moritzburg
include the Atlanta, New Jersey, Indianapolis and Marwood is a renowned champion of and La Jolla Music Society.
Santa Fe Symphony Orchestras, whilst elsewhere she contemporary music alongside traditional Born in Chengdu, China, Feng studied at the
has performed with the Mariinsky Orchestra, NHK repertoire; among those works composed for him Sichuan Conservatory of Music, the Hanns Eisler
Symphony Orchestra, Tokyo Metropolitan Symphony are Thomas Adès’ “Concentric Paths”. School of Music and the Royal Academy of Music.
Orchestra, NCPA Beijing Orchestra, Macao Orchestra His latest CD recording for Hyperion, of Amongst his awards from numerous prestigious
and the Taipei Symphony. A prominent figure in Korea, Walton’s Violin Concerto with the BBC Scottish competitions, Feng won first prize in the 2005
Clara-Jumi Kang has performed with all of the major Symphony Orchestra and Martyn Brabbins, “Michael Hill”, the Senior 2nd Prize at the Menuhin
Korean orchestras and in 2012 was selected as one of
received critical acclaim. The Sunday Times hailed Competition 2000 and was a member of the jury
the top 100 “Most promising and influential people of
Korea” by major Korean newspaper Dong-A Times.
Marwood as “a thrilling, virtuosic soloist”. for the Menuhin Competition London 2016.
European concerto highlights of the 2018/19 Marwood is co-Artistic Director of the Feng records for Channel Classics and has
season include the Orquesta Sinfónica de Castilla y Peasmarsh Chamber Music Festival in East Sussex. released numerous recordings, including Bach’s
León/Petrenko, Musikkollegium Winterthur/ D. Jurowski, He was awarded an MBE in the Queen’s 2018 New complete solo works for violin which were hailed by
Nordic Chamber Orchestra/Ollikainen, Rheinische Year Honours list. He plays a 1736 Carlo Bergonzi Gramophone as ‘unlike anyone else’s.’
Philharmonie/Walker, Deutsche Radio Philharmonic/ violin, kindly bought by a syndicate of purchasers. Feng plays a 1721 Stradivari violin, known as
Delamboye, Dalasinfoniettan/Blendulf, Moscow the ‘MacMillan’, on private loan, kindly arranged by
Soloists/ Bashmet and Concerto Budapest/ Keller. Premiere Performances of Hong Kong, and plays on
Further afield, she returns to Japan for performances strings by Thomastik-Infeld.
with the Sapporo Symphony Orchestra and Nagoya
Philharmonic/Koizumi, whilst engagements in China
take her to the Hangzhou Philharmonic Orchestra/
Sinaisky and the Shenzen Symphony Orchestra.
Clara-Jumi Kang currently plays the 1708 “Ex-
Strauss” Stradivarius, generously on loan to her from
the Samsung Cultural Foundation Korea.
10Wilma Smith Dr Robin Congreve Michael Hill
NEW ZEALAND / AUSTRALIA
Wilma Smith is Musica Viva’s Artistic Director
NEW ZEALAND CHAIRMAN OF THE JURY
Robin is an Auckland based lawyer and
Audience Prize
of the Melbourne International Chamber Music businessman. He has had a life-long interest in the Cast your vote to determine the winner
Competition, Guest Concertmaster of orchestras arts. He was the founding chairman of New Zealand of the 2019 Michael Hill Audience Prize!
throughout Australia and New Zealand and Opera and established and continues to fund the
Artistic Director and violinist of Wilma & Friends, a Live and online audience members
Walters Prize for contemporary art in New Zealand.
flexible-personnel Chamber Music and Educational He was a founding donor of the Auckland Writers can vote for their favourite of all 16
Outreach organisation. Festival, has served on the International Councils competitors. Text message the individual
Born in Fiji and raised in New Zealand, of Tate and MOMA and has sat on committees here competitor’s code found in this
Wilma continued her study at the New England and in the UK reviewing various aspects of the arts
Conservatory with Dorothy DeLay (violin) and
programme book to 3323.
and philanthropy. (NZ mobiles only. Standard costs apply.)
Louis Krasner (chamber music). She was founding
As a musical performer Robin’s experience is
First Violinist of the Lydian Quartet in residence
at Brandeis University, winners of the Naumburg
limited to some indifferent recorder playing in the Or vote online through the voting form on
Auckland Town Hall in 1953. However he has great
Award and prizes at Evian, Banff and Portsmouth
affection (and more knowledge than he lets on) for
violincompetition.co.nz
International String Quartet Competitions. Formative You can vote just once each day.
activities also included leading the Handel and Haydn violin repertoire.
Society Orchestra, the Harvard Chamber Orchestra,
and Emmanuel Music as well as extensive work with
the Boston Symphony Orchestra.
Invited by Chamber Music New Zealand to
return to establish the New Zealand String Quartet,
Wilma was First Violinist for five years until her
appointment as Concertmaster of the New Zealand
Symphony Orchestra, a position she held for nine
years until her appointment as Concertmaster of
the Melbourne Symphony Orchestra. Upon leaving
the NZSO, Wilma was honoured with the title of
Concertmaster Emeritus.
Since retiring from the MSO five years ago,
Wilma has returned to her chamber music roots,
enjoying old and new relationships in the US and New
Zealand as well as Australia. She is a committed
teacher and relishes performing with young artists
in combination with established musicians. She is
currently involved in the establishment of a new
Australian national competition for secondary-aged
chamber musicians, pilot: 2020.
TXT 3323
11COLLABORATING ARTISTS Jian Liu Andrew Beer
PIANO USA/NEW ZEALAND VIOLIN CANADA
Sarah Watkins Jian Liu has gained a reputation as a highly sought- Acclaimed as a “virtuoso soloist” (San Francisco
PIANO NEW ZEALAND after solo pianist, chamber musician, and educator Classical Voice) possessing a “glorious string tone”
across the globe. He has performed as a soloist (Strad Magazine) and has a “musical gift” (New
Sarah’s lifelong love for accompanying and
and chamber musician throughout Europe, Asia, York Times), Andrew is one of the most gifted
chamber music has led to an impressive career as
and North America. His artistry has been taking violinists in Australasia. His intense commitment
a performer and recording artist. She is perhaps
him to some of the most prestigious concert halls, to the work at hand, his energy, drive, and deep-
best known to New Zealand audiences as a
including Carnegie Hall, Steinway Hall in New York, focused concentration are immediately evident
founding member of NZTrio; after 16 years in that
Lincoln Center, and Paul Hall of The Juilliard School, when one hears him play, but his tone, his musical
role, Sarah left the group in June 2018 to actively
pursue other musical passions. and as a featured soloist with orchestras including instincts, his passion, and his impressive feeling for
In addition to NZTrio, Sarah has been an Symphony Orchestra of National Philharmonic nuance bring a richness to his music-making that
official pianist for the Michael Hill International Society of Ukraine, Phoenix Symphony Orchestra, is the hallmark of exceptional artistry.
Violin Competition since its inception in 2001 and Auckland Philharmonia Orchestra, Orchestra He has performed extensively throughout the
the Gisborne International Music Competition Wellington, Christchurch Symphony Orchestra, and world with Grammy-winning chamber ensembles
since 2008. She regularly appears as a freelance Yale Philharmonia, among others. and orchestras. Contemporary music plays a
player in the Auckland Philharmonia Orchestra, As a dedicated and enthusiastic chamber significant role in his musical life, and he has
and has also performed as concerto soloist with musician, Jian is the founding pianist of Te Kōkī Trio. worked closely with leading composers of our
the Auckland Philharmonia Orchestra, Auckland The Trio has appeared on various chamber series in time on their solo and chamber works, including
Chamber Orchestra and St. Matthew’s Chamber Singapore, China, Australia and New Zealand. Jian Kurtag, Boulez, Davidovsky and Reich. He teaches
Orchestra. In 2014 Sarah recorded Chris Watson’s has also collaborated with some of the world’s finest at the University of Auckland and has been a
“sing songs self” for solo piano and orchestra musicians, including cellist Jian Wang, clarinetist guest teacher at Harvard and McGill Universities.
with the NZ Symphony Orchestra, a composition David Shifrin, flutist Ransom Wilson, and pianist Andrew has been Concertmaster of the Auckland
which was awarded the prestigious 2015 SOUNZ Boris Berman, Claude Frank and Maria João Pires. Philharmonia Orchestra since 2014, and has
Contemporary Award. Jian has served for four years on the faculty of guest-led the symphony orchestras of Birmingham
Her numerous CD recordings with NZTrio and the Yale Department of Music, and he is currently (UK), Melbourne, Adelaide and Vancouver.
other artists have been widely praised by audiences the Programme Director of Classical Performance Andrew performs on a J.B. Vuillaume violin
and critics alike; ‘Sway’ (NZTrio, 2017) and ‘Gung-ho’ and Head of Piano Studies at New Zealand School from 1845, and a J.J. Martin bow from 1880.
(2009, with NZSO principal trombonist David of Music at Victoria University of Wellington.
Bremner) were both winners of the Vodafone NZ Jian holds Master of Music, Doctor and Master of
Music Award for Best Classical Album. Musical Arts degrees from Yale School of Music,
Sarah is a graduate of the University of where he was a student and assistant of Professor
Canterbury (NZ) and The Juilliard School (NY), Claude Frank.
where she earned both MM and DMA degrees in
collaborative piano. She was recently appointed
as an artist teacher and chamber music coach at
the University of Auckland, and she enjoys a wide
variety of collaborations with musicians all over
New Zealand.
12Julia Joyce Gillian Ansell Ashley Brown
VIOLA NEW ZEALAND VIOLA NEW ZEALAND CELLO NEW ZEALAND
Born in Wellington, Julia completed a Bachelor Gillian Ansell, born in Auckland, made her concerto Acclaimed as a musician of “unimpeachable
of Music with First Class Honours at Victoria debut as a violinist with the Auckland Philharmonia artistry”, Ashley Brown is one of New Zealand’s
University in 2004. She was Concertmaster of the at the age of 16. At 19, an Associated Board leading soloists, collaborators, chamber musicians
National Youth Orchestra of New Zealand, heading Scholarship took her to the Royal College of Music and recording artists. He is a founder of NZTrio and
to London in 2005 where she completed a Masters in London for 3 years to study violin, viola and a passionate advocate for New Zealand music.
Degree in Violin/Viola Performance with Distinction piano. She then won a German Academic Exchange His teachers have included Alexander
at the Guildhall School of Music and Drama. She (DAAD) scholarship for further study in Germany at Ivashkin, Aldo Parisot and William Pleeth helping
was a finalist in the Guildhall Wigmore Hall recital the Musikhochschule Cologne with Igor Ozim and him to success in auditions, competitions and
competition 2008. the Amadeus Quartet. awards, both local and international. Musical
As a member of the Puertas Quartet After working professionally in London for curiosity has led him from an Artist Diploma at
she reached the semi-finals at the Bordeaux three years she returned to New Zealand to Yale to a Doctorate of Musical Arts exploring the
International String Quartet Competition 2010. become a founding member of the New Zealand collaborative relationship between composer and
Julia played with the Royal Philharmonic and String Quartet in 1987. She was second violinist for performer, and onward to sharing the stage with
London Philharmonic Orchestras before being two years before taking up the position of violist of composers and artists as diverse as Dame Gillian
appointed to the Philharmonia Orchestra of the group, a position she holds to this day. With the Whitehead, Moana Maniapoto, Michael Houstoun,
London’s viola section. She toured France, NZSQ, she has toured NZ and the world, performing Kristian Jaarvi and Neil Finn. He continues to
Germany, Spain, Turkey, Japan and the Canary all the major quartet and quintet repertoire. enjoy a musical career that leaves no colour of the
Islands with the Philharmonia before returning Since 1991, she has taught viola, violin and musical spectrum unexplored.
to New Zealand in 2011 to take up the position of chamber music at the New Zealand School of Ashley plays the 1762 William Forster
Principal Viola with the NZSO. Music, Victoria University of Wellington, where the ‘Liberte’ cello.
She plays a 1920’s Italian viola by Emilio Rossi. NZSQ is Ensemble-in-Residence.
In 2001 she became Artistic Director, with
fellow quartet member Helene Pohl, of the
Adam Chamber Music Festival, New Zealand’s
pre-eminent classical music festival, which takes
place biennially in Nelson.
In 2008 she was made a Member of the New
Zealand Order of Merit (MNZM) for her outstanding
services to music in New Zealand.
13QUEENSTOWN
BAYLEYS QUARTER-FINAL ROUND I
16 COMPETITORS | QUEENSTOWN MEMORIAL CENTRE
COLLABORATING PIANISTS JIAN LIU AND SARAH WATKINS
FRIDAY 31 MAY SATURDAY 1 JUNE
Continued from Friday
2:30PM
Insider’s Guide - “Fiendish Fugues”
hosted by Martin Riseley
9:30AM
Insider’s Guide -
Each performance is 40 minutes “Paganini: What was he thinking!”
maximum and is presented in the order hosted by Martin Riseley
of the competitors’ choosing.
SESSION 3
SESSION 1 10:00AM – 1:00PM
3:00PM – 6:00PM Competitors 9, 10, 11, 12
Competitors 1, 2, 3, 4
SESSION 4
SESSION 2 2:00PM – 5:00PM
7:00PM – 10:00PM Competitors 13, 14, 15, 16
Competitors 5, 6, 7, 8
QUARTER-FINAL ROUNDS 2017: OLGA ŠROUBKOVÁ,
CZECH REPUBLIC AND ASAKO FUKUDA, JAPAN
PHOTOS: SHEENA HAYWOOD
14Music for The quarter-finalists have selected their
repertoire from the following:
3 Salon piece
One of the following salon pieces for violin
Unaccompanied Violin and piano:
The violin is inherently a single-line I Bach • Albeniz (arr Kreisler) Tango Op 165 No 2
instrument, designed primarily to be played One of the following selections from • Chaminade (arr Kreisler) Serenade
with accompaniment or as part of an unaccompanied Sonatas and Partitas: Espagnole Op 150
ensemble. Unaccompanied music for the • Adagio and Fuga from Sonata No 1 in G minor • Chopin (arr Milstein) Nocturne
instrument explores its potential for multiple • Grave and Fuga from Sonata No 2 in A minor in C-sharp minor
simultaneous melodic threads, and ways of • Elgar Salut d’Amour Op 12
• Adagio and Fuga
allowing the instrument to provide its own
from Sonata No 3 in C major • Elgar Chanson de matin Op 15 No 2
harmonic context to a melody. This music
calls into play some of the more extreme • Allemanda, Double, Corrente and Double • Elgar La capricieuse Op 17
elements of a performer’s technique, as from Partita No 1 in B minor • Faure Berceuse in D major Op 16
well as demanding that the violinist takes • Ciaccona from Partita No 2 in D minor • Gershwin (arr Heifetz) Prelude No 2
sole responsibility for carrying the artistic • Preludio, Loure, Gavotte en Rondeau and • Granados (arr Kreisler) Danzas espanolas
communication. Works such as Paganini’s Menuet I and II from Partita No 3 in E major Op 37 No 5, Andaluza
24 Caprices make the utmost demands
on musicians, mercilessly exposing any • Kreisler Berceuse Romantique Op 9
technical flaws. In addition to their immense
2 Paganini • Kreisler Liebesleid
technical challenges, Bach’s six Sonatas and One Caprice from Op 1 • Kreisler Liebesfreud
Partitas for unaccompanied violin provide • Liszt (arr Milstein) Consolation No 3
one of the ultimate tests of a violinist’s
• Ravel (arr G Catherine)
musicianship and concentration. Often
referred to as the “Violinist’s Bible”, these
The Salon Piece Piece en forme de Habanera
works are nonetheless part of an ongoing The salon piece for violin and piano • Rimsky-Korsakov Sadko (arr Kreisler)
dynamic tradition. Three-and-a-half centuries developed during the nineteenth century (Song of India)
later the six Sonatas by Eugene Ysaÿe, where writers, artists and musicians often • Sibelius (arr M Press) Nocturne Op 51 No 3
composed in 1924, encompass some of the gathered for “Salons”: evenings of music and • Sibelius Romance Op 78 No 2
most important innovations in writing for conversation in high society’s fashionable
households. Sentimental pieces or light • Tchaikovsky Melodie in E-flat major
unaccompanied violin since Paganini.
vignettes such as those by Fritz Kreisler and (from Souvenir d’un lieu cher) Op 42
Elgar are among the best-known examples, • Tchaikovsky Valse Sentimentale Op 51 No 6
as are arrangements of operatic arias and
pieces originally composed for the piano 4 Ad Libitum
alone, such as Chopin’s Nocturnes and Ad libitum literally means “according to
Liszt’s Consolations. Short, and often with pleasure”. Each quarter-finalist has the
simple melodies, these works challenge the opportunity to demonstrate to the judges
performer to say much with little. and the audience a work that personally
resonates with them; that showcases a
particular talent or enthusiasm, something
in which they truly excel… that gives pleasure
– to the performer and the audience.
15QUEENSTOWN
QUARTER-FINAL ROUND II
16 COMPETITORS | QUEENSTOWN MEMORIAL CENTRE
COLLABORATING PIANISTS JIAN LIU AND SARAH WATKINS
SUNDAY 2 JUNE MONDAY 3 JUNE
9:30AM 9:30AM
Insider’s Guide - “Two is Better than One”
Insider’s Guide -
hosted by Andrew Beer
“Commissioning Chatoyance”
hosted by Lyell Cresswell & Dene Olding
SESSION 7
Each performance is 45 minutes
maximum and is presented in the order 10:00AM – 1:15PM
of the competitors’ choosing. Competitors 9, 10, 11, 12
SESSION 5 SESSION 8
10:00AM – 1:15PM 2:30PM – 5:45PM
Competitors 1, 2, 3, 4 Competitors 13, 14, 15, 16
Announcement approximately 7pm of six
SESSION 6 semi-finalists advancing to Round III, and
announcement of the winner of the NZ
2:30PM – 5:45PM Commissioned Work.
Competitors 5, 6, 7, 8
QUARTER-FINAL ROUNDS 2017: SUMINA STUDER,
SWITZERLAND WITH PIANIST SARAH WATKINS
PHOTOS: SHEENA HAYWOOD
16The quarter-finalists have selected their 2 One of the following Sonatas
repertoire from the following: with piano:
• Brahms Sonata No 1 in G major Op 78
1 Chatoyance
Commissioned piece for solo violin by • Brahms Sonata No 2 in A major Op 100
New Zealand composer, Lyell Cresswell, • Brahms Sonata No 3 in D minor Op 108
provided to the Competitors 1 April 2019.
Chatoyance, from the French “œil de
• Debussy Sonata for violin and piano Lyell Cresswell
• Fauré Sonata in A major Op 13 COMPOSER NEW ZEALAND
chat”, is a term used in jewellery. It is the
effect of light moving across a gemstone, • Franck Sonata in A major Lyell Cresswell was born in Wellington in
light shimmering like a cat’s eye in the • Grieg Sonata No 3, Op 45 1944. He studied in Wellington, Toronto,
dark. Patches of light and dark shift and • Janaček Sonata for violin and piano Aberdeen and Utrecht. From 1978-80 he
change depending on the angle of view. was Music Organizer at Chapter Arts Centre,
• Prokofieff Sonata No 1 in F minor
The music grows from four pizzicato Cardiff. From 1980-82 he was Forman Fellow
notes - AAA B. This motif, and a second, • Prokofieff Sonata No 2 in D major in Composition at Edinburgh University,
contrasting idea of high sustained notes • Ravel Sonata for violin and piano and then Cramb Fellow in Composition at
provide the material around which the Glasgow University (1982-85). Since then
whole piece develops. The high sustained 3 One virtuoso work of own choice from he has been a full-time composer based in
notes are linked by tiny ornaments. The the 19th or 20th century. Edinburgh.
ornaments proliferate and try to take over. Lyell Cresswell’s music is widely performed
There is a dramatic, and more virtuosic, and broadcast and has been played at many
middle section, which could be thought of festivals around the world. He has written
as grand ornaments. The piece finishes as works in most genres: for orchestra, large
it began - pizzicato AAA B, but this time an and small ensembles, solo instruments,
octave higher. operas, choral music and works for solo
A work for an unaccompanied solo voice.
player is a challenge for both composer The numerous awards he has received
and performer. There is nothing to fall include recommendations by the UNESCO
back on - no other instrumental colours, International Rostrum of Composers, the
no other players to take over, no support Ian Whyte Award, a Scottish Arts Council
from other instruments. Contrast has Creative Scotland Award, an honorary DMus
to be found within the limits of the from Victoria University of Wellington, the
instrument. For those in the audience the inaugural Elgar Bursary, and the SOUNZ
theatrical aspect of one player standing Contemporary Award for his first Piano
alone facing them can be riveting. Concerto. In 2016 he received a New Zealand
Arts Laureate Award, and in 2018 the CANZ
Trust Fund Award.
17AUCKLAND
SEMI-FINAL ROUND III
6 COMPETITORS | AUCKLAND TOWN HALL CONCERT CHAMBER
WEDNESDAY 5 JUNE 6:30PM THURSDAY 6 JUNE
Collaborating artists Andrew Beer Insider’s Guide - Continued from Wednesday
(violin), Gillian Ansell (viola), Julia Joyce “The Viola, No Joke”
(viola) and Ashley Brown (cello). Six
competitors will perform, in its entirety,
hosted by David Samuel 6:30PM
Insider’s Guide -
one of the following string quintets by
Mozart:
7:30PM “Are Older Violins Better?”
Semi-finalists 1, 2, 3 hosted by Dick Panting, Ziv Arazi
• Quintet in C major, K515 and Bruno Price
• Quintet in G minor, K516
• Quintet in D major, K593
• Quintet in E-flat major, K614 7:30PM
Semi-finalists 4, 5, 6
KUNWHA LEE FROM SOUTH KOREA PERFORMING A MOZART
QUINTET IN 2017. KUNWHA WAS JOINED BY JUSTINE CORMACK,
Announcement approx. 10pm of
GILLIAN ANSELL, JULIA JOYCE AND ASHLEY BROWN
PHOTO: SHEENA HAYWOOD
three finalists
18The semi-finalists have selected their String Quintet in D major, K 593
repertoire from the following: Larghetto – Allegro
Adagio
String Quintet in C major, K 515 Menuetto (Allegretto)
Allegro Finale (Allegro)
Menuetto (Allegretto) The Quintet in D begins with a slow
Andante introduction in which the cello repeatedly
Finale (Allegro) opens dialogue with a rising arpeggio,
The Quintet in C opens with the cello’s broken answered by the violins and violas with
arpeggio dancing upwards over two octaves, mellifluous phrases. The Allegro that follows
answered by a bird-like first violin, lightly is witty and high-spirited, but Mozart springs
accompanied by the inner voices; the roles of a surprise with a return of the Larghetto
first violin and cello in presenting this material towards the end, dissipated by a brief
are soon reversed. In a deft touch, each of these reprise of the Allegro material. The Adagio
statements echoes the number of instruments, is characterised by bold harmonies, while
being five bars in length. The graceful Minuet
Mozart String with its hesitant and ambiguous Trio is
succeeded by an almost operatic Andante in
the Menuetto’s rhythm is undermined
by a deliberately bewildering pattern of
Quintets which the first violin engages with the first viola
in a tender duet. The exuberant Finale explores
phrases. Opening with a chromatic descent
that resolves into a tarantella rhythm, the
energetic Finale wears its contrapuntal
Together with the Clarinet Quintet, the four various combinations of instruments, reaching a
jubilant conclusion. mastery lightly.
String Quintets composed in the final years of
Mozart’s brief but extraordinary life represent String Quintet in E-flat major, K 614
the pinnacle of his chamber music. They String Quintet in G minor, K 516
Allegro Allegro di molto
followed a period in which he had immersed Andante
himself in string quartet writing, producing Menuetto (Allegretto)
Adagio ma non troppo Menuetto (Allegretto)
the six “Haydn” Quartets together with the Finale (Allegro)
“Hoffmeister”. As he had done in a string Finale (Adagio – Allegro)
Troubled and melancholy in character, the Composed in Vienna just eight months before
quintet written at the age of sixteen, Mozart Mozart’s death, the Quintet in E-flat major
added a second viola to the familiar quartet. Quintet in G minor was composed during a
period when Mozart was apprehensive about is a high-spirited tribute to Haydn. Despite
This one additional instrument provided its many compositional subtleties and the
him with a more orchestral quality and his father’s serious illness. The first movement
constantly plays with the contrast between technical difficulties of the instrumental
opportunities for greater flexibility and variety writing, it has above all the character of a
light and dark colours made possible by the
of texture. divertimento. The first movement is lively and
quintet medium. The second movement is a
Minuet in name only, too dark and unsettled extroverted, while the Andante that follows
for a dance, while the grief-stricken quality is a beguiling theme with variations. The
of the Adagio anticipates tragedy. The slow Minuet presents a sophisticated evocation
introduction to the Finale is darker still, but of street music, enclosing a Trio in the form
leads into a jovial Allegro that brings the work of a ländler. The main theme of the last
to a light-hearted close. Deemed incongruous movement is an overt reference to the finale
by later critics, such a resolution was of Haydn’s String Quartet in E-flat Op 64 No 6.
considered entirely fitting in Mozart’s time.
19AUCKLAND FINAL ROUND 3 COMPETITORS | AUCKLAND TOWN HALL AUCKLAND PHILHARMONIA ORCHESTRA SATURDAY 8 JUNE Concertos with the Auckland Philharmonia Orchestra, conducted by Music Director, Giordano Bellincampi 6:30PM Insider’s Guide - “In Front yet Within” hosted by Andrew Beer 7:30PM – 10:30PM Finalists 1, 2, 3 Followed by announcement of prize winners IOANA CRISTINA GOICEA FROM ROMANIA WITH HER WINNING 2017 PERFORMANCE OF TCHAIKOVSKY’S VIOLIN CONCERTO, ACCOMPANIED BY THE AUCKLAND PHILHARMONIA ORCHESTRA PHOTO: SHEENA HAYWOOD 20
Concertos chosen by each of the finalists Brahms in particular strike a distinctive balance
have been selected from the following: Concerto in D major, Op 77 between passionate lyricism and a sternly
• Bartók Concerto No 2, BB117 Allegro non troppo northern tone of voice, while the finale was
Adagio wittily described by Sir Donald Francis Tovey
• Beethoven Violin Concerto, Op 611
Allegro agitato, ma non troppo vivace as “a polonaise for polar bears.”
• Brahms Concerto in D major, Op 77
Following Beethoven’s example, Brahms
• Britten Concerto, Op 15 designed his Violin Concerto along symphonic Shostakovich
• Dvořák Concerto in A major, Op 53 lines, its essentially serene character Concerto in A minor, Op 99 (aka Op 77)
• Elgar Concerto in B minor, Op 61 reminiscent of his Second Symphony, Nocturne (Moderato)
composed during the previous year. The first Scherzo (Allegro)
• Mendelssohn Concerto in E minor, Op 64
and second movements exploit the singing Passacaglia (Andante)
• Nielsen Violin Concerto, Op 33 qualities of the violin, while the finale is in a Burlesque (Allegro con brio)
• Prokofieff Concerto No 1 in D major, Op 19 more virtuosic style with Hungarian flavours. Dedicated to the eminent Russian violinist
• Prokofieff Concerto No 2 in G minor, Op 63 David Oistrakh, Shostakovich’s First Violin
• Sibelius Concerto in D minor, Op 47 Prokofieff Concerto waited seven years for its first
Concerto No 2 in G minor, Op 63 performance, because in the Soviet Union at
• Shostakovich Concerto in A minor, Op 99 that time music with any degree of emotional
Allegro moderato
• Tchaikovsky Concerto in D major, Op 35 Andante assai complexity was considered politically
• Walton Violin Concerto Allegro, ben marcato dangerous. Two deeply contemplative slow
Almost twenty years separate Prokofieff’s movements alternate with shorter fast
violin concertos, the second being composed movements, offering the soloist ample
Bartók opportunity for displays both of virtuosity and
Concerto No 2, BB117 shortly after his return to the Soviet Union.
Unlike its predecessor, the second follows the of deeper qualities of musicianship.
Allegro non troppo
Andante tranquillo traditional pattern of two fast movements
Allegro molto flanking a slow one, but lyrical elements Tchaikovsky
At first glance Bartók’s Second Violin Concerto are again very much to the fore, with many Concerto in D, Op 35
appears to be in the time-honoured three- anticipations of the melodic and orchestral Allegro moderato
movement form, but a closer look reveals that style of Prokofieff’s ballet Romeo and Juliet. Canzonetta (Andante)
while the central movement is quite overtly Allegro vivacissimo
a set of variations, the finale is in fact one Sibelius Pronounced unplayable by the virtuoso
massive variation on the sonata-form first Concerto in D minor, Op 47 for whom it was originally intended,
movement. This structural complexity does Allegro moderato Tchaikovsky’s remains one of the most
not detract in the slightest from the melodic Adagio di molto technically challenging of all concertos for
inventiveness and general approachability of Allegro the violin. Yet for all the virtuosity it demands
the work, with its spicy Hungarian flavours Sibelius had long since abandoned his this perennial favourite has a profoundly
and abundant opportunities for the violin to youthful ambition to be a solo violinist by the lyrical heart, particularly in the Canzonetta
sing and to strut. time he composed his Violin Concerto, but his second movement.
intimate knowledge of the instrument allowed
him to compose for it with boldness and Programme Notes by Robert Johnson and
confidence. The first and second movements Amber Read
21MEET THE AUCKLAND
PHILHARMONIA ORCHESTRA
The Auckland Philharmonia Orchestra is New Zealand’s full-time,
professional, city-based symphony orchestra, serving Auckland’s
communities with a comprehensive programme of concerts and
education and outreach activities.
PHOTO: ADRIAN MALLOCH
22In more than 70 performances annually, the APO presents a full season of
symphonic work showcasing many of the world’s finest classical musicians. Leading
international guest artists returning in 2019 include Vladimir Ashkenazy, violinists
James Ehnes, Ning Feng and Anthony Marwood, pianists Javier Perianes and
Alexander Gavrylyuk, and conductors Douglas Boyd and Tadaaki Otaka. They are
delighted to welcome artists joining the APO for the first time, including violinist
Viktoria Mullova, pipa player Wu Man, cellist Harriet Krijgh and conductors Sofi
Jeannin, Ludovic Morlot and Bertrand de Billy, to complement the presence of APO Giordano Bellincampi
Music Director Giordano Bellincampi. CONDUCTOR
The APO is also proud to support both New Zealand Opera and the Royal Giordano Bellincampi is the Music Director of the Auckland
New Zealand Ballet in their Auckland performances. It works in partnership with Philharmonia Orchestra. Born in Italy and moving to
Auckland Arts Festival, the New Zealand International Film Festival and the Michael Copenhagen at a young age, he began his career as a
Hill International Violin Competition. The APO also supports New Zealand concert trombonist with the Royal Danish Orchestra before making
premieres and visiting artists with recent associations including opera superstar his professional conducting debut in 1994.
Anna Netrebko, Neil Finn, Hans Zimmer, Michael Bolton, Yundi Li and Harry Potter Previously, he was the Principal Conductor of I Pomeriggi
Musicali, Milan, Chief Conductor of the Kristiansand
Live in Concert.
Symphony Orchestra from 2013-2018, General Music Director
Through its numerous APO Connecting (education, outreach and community) of the Duisburg Philharmonic from 2012-2017, General
initiatives the APO offers opportunities to more than 25,000 young people and Music Director of the Danish National Opera, Aarhus from
adults nationwide. 2005-2013, Music Director of the Copenhagen Philharmonic
More than 250,000 people hear the orchestra live each year, in the concert hall Orchestra from 2000-2006 and, between 1997-2000 he was
and through video live streams. Many thousands more are reached through radio also Chief Conductor of the Athelas Sinfonietta Copenhagen,
broadcasts, special events, recordings and other media. the leading contemporary ensemble in Denmark.
Highlights of recent seasons have included concert
performances of Verdi’s Aida and Puccini’s Manon Lescaut with
PATRONS AUCKLAND PHILHARMONIA the Auckland Philharmonia Orchestra, and gala performances
Dame Kiri Te Kanawa, DBE, ONZ ORCHESTRA BOARD
Dame Catherine Tizard, GCMG, GCVO, Geraint A. Martin, Chairman
of Wagner’s operatic and orchestral music with the Duisburg
DBE, ONZ, QSO Leigh Auton Philharmonic to mark the reopening of the orchestra’s home in
Sir James Wallace, KNZM, ONZM Richard Ebbett Duisburg’s Mercatorhalle, as well as a strongly-acclaimed visit
Dame Rosanne Meo, DNZM, OBE Lope Ginnen to Amsterdam’s legendary Concertgebouw Hall, in repertoire by
VICE PATRON Pare Keiha Nielsen, Sibelius and Beethoven.
Dame Jenny Gibbs, DNZM Kieran Raftery QC In the 18/19 season, Giordano Bellincampi makes
Eric Renick
appearances alongside the Orchestra della Toscana, Estonian
CHIEF EXECUTIVE Julian Smith
Barbara Glaser
National Symphony, Victoria Symphony, and Orchestra
apo.co.nz Sinfonica Siciliana, as well as returning to Toledo Symphony,
and bringing a concert performance of Mozart’s Don Giovanni
to Auckland Philharmonia Orchestra.
In 2010 he was created a Knight of the Order of the
Dannebrog, an award bestowed by the Danish Royal Family
for services to Danish culture, and he also holds the title
of Cavaliere from the President of Italy for his international
promotion of Italian music.
23Not your regular pre-concert lecture –
more like wine tasting with the actual vintner
AN INSIDER’S GUIDE
Get the scoop on exactly what challenges the competitors are facing and what the judges will be
listening for in a winner, confided by NZ’s leading tertiary violin lecturers.
A key part of the Competition’s programme, the informal Insider’s Guide sessions are held at
the start of each session to provide audiences with a greater understanding and appreciation of the
gauntlet the violinists are running.
Friday 31 May Wednesday 5 June
2:30pm Martin Riseley 6:30pm David Samuel
Fiendish Fugues – J.S. Bach’s solo works for The Viola, No Joke – One of the greatest minds
violins including the fugues are explored with and artistic spirits to ever walk this planet was
Martin – four parts for four fingers, four strings Wolfgang Amadeus Mozart. His genius was
and a bow. You do the maths. remarkable and, in addition to his many gifts,
he was a violist and he wrote six glorious String
Saturday 1 June Quintets giving the central role to the viola
– the part that he himself would play. David
9:30am Martin Riseley Samuel talks about the quintets from a violist’s
Paganini: What was he thinking! – Martin explores perspective – see what makes them some of the
the encyclopaedia of contortionist acts Paganini greatest music ever written!
demands of violinists in his famous Caprices.
Thursday 6 June
Sunday 2 June 6:30pm Are Older Violins Better? – Rare Violins
9:30am Lyell Cresswell of New York is an internationally respected firm
Commissioning Chatoyance – Our 2019 in the world of fine instruments. Co-founders
commissioned composer talks about his Bruno Price and Ziv Arazi are experienced
compositional process with our Artistic Adviser, dealers and former professional musicians,
Dene Olding, who has been an integral part of the and discuss the hot topic about old versus new
Competitions’ new works throughout the years. violins with our own luthier and violin maker,
Richard Panting. Moderated by Dene Olding.
Monday 3 June
9:30am Andrew Beer Saturday 8 June
Two is Better than One – Andrew delves into the 6:30pm Andrew Beer
rich sonata repertoire for violin and piano. What In Front yet Within – Concertmaster of
makes a good pairing and how will you know? the APO talks about the skills, artistry and
sheer power violinists need to display when
performing concertos on a stage with 80 other
From top: David Samuel University of Auckland; Andrew Beer University
of Auckland, Concertmaster Auckland Philharmonia Orchestra; Martin
musicians. There are times when the soloist
Riseley NZ School of Music, Concertmaster Christchurch Symphony; needs to command and times when they need to
Auckland Philharmonia Orchestra; Richard Panting Official Luthier; Ziv play within the huge soundscape of a symphony
Arazi and Bruno Price Rare Violins of New York orchestra full of other soloists.
24You can also read
