Auckland Philharmonia Orchestra - the Auckland Philharmonia

APO Submission for New ZealandOrchestral Sector Review, April 2012Executive Summary 2Part One: Contextualising Auckland and the orchestral sector 31 Auckland economy and culture ..................................................................................................31.1 Population, diversity and liveability....................................................................................31.2 Auckland's cultural milieu ...................................................................................................32 Auckland's Orchestra ..................................................................................................................42.1 Auckland Philharmonia Orchestra (APO)............................................................................42.1.1 APO Development history...........................................................................................42.1.2 Consolidated local government and the APO.............................................................52.1.3 Funding of Auckland Philharmonia Orchestra ............................................................62.1.4 APO reach ‐ Auckland, New Zealand, International....................................................83 Context for overall NZ orchestral sector.....................................................................................94 Tipping point for Auckland Philharmonia Orchestra, the Auckland Plan and the future .........10Part Two: "Issues" for Auckland Philharmonia Orchestra 125 Repertoire and concert hall presence.......................................................................................126 Education and Community programmes ..................................................................................127 Player‐related issues .................................................................................................................137.1 Wage levels and core funding...........................................................................................137.2 Destination Orchestra.......................................................................................................147.3 Players are not on salary...................................................................................................147.4 Core size of orchestra .......................................................................................................148 Practical implications: Efficiency of delivery............................................................................14Part Three: Solution pathways and APO learnings for NZ orchestral sector model 15Conclusion 15Submission by APO musicians 16Appendix 1: What can New Zealand learn from national orchestra models?Appendix 2: APO Education activity 2011Contextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 1

Executive SummaryIn 2012, it would be an overly simplistic misrepresentation to define the orchestral sector in New Zealandas comprising one national touring orchestra and four regional orchestras. The reality is that NewZealand's orchestral sector comprises two professional fulltime symphony orchestras (namely the NewZealand Symphony Orchestra and the Auckland Philharmonia Orchestra), as well as part‐timeprofessional orchestras and smaller community orchestras. Nevertheless, current New Zealand orchestralfunding arrangements focus on one national entity receiving 80% while 20% is distributed to four"regional" orchestras in New Zealand's four major cities.The appropriateness of this nearly 70‐year‐old model for modern New Zealand needs to be reconsideredin light of New Zealand’s developing population: the New Zealand Symphony Orchestra was establishedin 1946 to entertain a country whose total population was 1.78m, while the Auckland region was about250,000, just over 12.5% of the country’s population as a whole.Today the population of Auckland is near to that of all of New Zealand when the NZSO was established.In 2012 the Auckland region accounts for 31% of the population of New Zealand. By 2050 New Zealand’spopulation is predicted to be 20% greater than at present ‐ 5,350,000 people. With northward domesticpopulation drift and immigration, 50% of New Zealand’s population will live in the Auckland city‐region in2050. What does this mean for the city's fulltime symphony orchestra?1. Auckland Philharmonia Orchestra (APO) is regarded as an essential component in makingAuckland the world's most liveable city. APO plays to a significant number of full houses annually,and its symphonic output is in balanced harmony with its grassroots educational and communityoutreach programmes. APO is an intrinsic part of Auckland, and represents city orchestralexcellence. It has reach, depth, courage and energy.2. Measured against any comparable orchestra in the Australasian region, APO is significantlyunderfunded by central government. Performing as New Zealand's only fulltime city‐basedsymphony orchestra, APO is the only Australasian orchestra to be funded in equal amounts bycentral government and by local/regional government (1:1 ratio) when the average funding ratiois 3:1 for fulltime professional orchestras. This is unsustainable for APO.Looking ahead, local government reforms of the type that reshaped Auckland as a "super city" since 2009are now rolling out across New Zealand. APO is ahead of the curve, and the issues it faces now are yet tobe faced by other "regional" or city‐1based orchestras. On one hand APO receives increased localgovernment funding revenue and local political support, but correspondingly higher expectations areplaced upon it by civic leaders and audiences.To fulfil its mandate as Auckland’s full time professional orchestra, to meet increasing demandespecially with its education and outreach programmes and to be able to continue its artistic growthtrajectory with excellence, the APO seeks the 3:1 ratio of central: state/local funding enjoyed bycomparable Australasian orchestras.For APO the timing and scope of the 2012 review of New Zealand's orchestral sector is very appropriate.APO hopes a modern, collaborative, cohesive and forward‐looking approach to New Zealand orchestrascan be achieved which will be harmonious, world class and encourage the development of the art formand audiences.Contextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 2

Part One: Contextualising Auckland and the orchestral sector1 Auckland economy and culture1.1 Population, diversity and liveabilityAuckland is, by definition, New Zealand's only metropolis. Today Auckland’s population is 1.5 million(34% of the total 4,412,000 NZ population) and the region is the country’s economic powerhouserepresenting more than 37% of all New Zealand economic activity. Auckland is home to the country'shighest‐ranked University (in the top 200 in the world), and the head offices of most largecorporates. Auckland dominates business in the New Zealand economy.At the same time, Auckland is the third most culturally and ethnically diverse city in the world,behind Toronto and Vancouver. It has the largest Polynesian population in the world and mostpopulous concentrations of Europeans/Pakeha, Maori and Asians in New Zealand. Most newimmigrants to New Zealand start and stay in Auckland. The composition and the programming of theAPO reflect this diversity ‐ it is of the place, by the place, for the place.In 2010, Auckland was classified as a Beta World City in the World Cities Study Group’s inventory byLoughborough University. (Melbourne is an Alpha ‐, Wellington is a Gamma ‐). Auckland is settingout to be "the world's most liveable city". The 2011 Mercer Quality of Living Survey ranked Auckland3rd in the world (behind Vienna and Zurich), while The Economist's World's Most Liveable Citiesindex of 2011 ranked Auckland in 10th place. Cultural institutions that contribute to and belong inplaces as the Auckland Philharmonia does are essential components of the cultural milieu ofsuccessful modern 'liveable' cities.1.2 Auckland's cultural milieuIn the 21st century New Zealand's cultural centre of gravity and cultural energies are shiftingnorthwards in line with population trends. Auckland is New Zealand's most significant cultural hub,dominating northern New Zealand and expanding its influence beyond New Zealand's shoresthrough the Asia‐Pacific region.Auckland is the country’s cultural powerhouse, encompassing the peerless Maori and Pacificcollections of Auckland Museum, the country’s most active art market, a world ranked universitywith schools of music and fine arts, and, in the APO, New Zealand's only metropolitan symphonyorchestra. Most of New Zealand's film and television industries are in Auckland, as is the advertisingindustry and more than 55,000 creative and cultural workers of what Richard Florida would call NewZealand's "creative class". The reopening of the Auckland Art Gallery, on 3 September 2011,established that facility as New Zealand’s premier art museum.Anomalies exist in the cultural sector funding not just for the APO but also for other key culturalinstitutions. Auckland Museum receives no regular operational funding from central government yetit houses the finest collection of Maori and Pacific artefacts in the world. Likewise, the recentlyexpanded and modernised Auckland Art Gallery receives no central government regular operationalfunding though it is unquestionably New Zealand's foremost art museum. There is a long history ofunder‐funding of Auckland's cultural institutions, which helps to contextualise the APO and itspresent situation.Contextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 3

2 Auckland's Orchestra2.1 Auckland Philharmonia Orchestra (APO)The Auckland Philharmonia Orchestra is Auckland's resident fulltime symphony orchestra. Each yearthe APO supports both the NBR New Zealand Opera and the Royal New Zealand Ballet (in a hirecapacity) and is the orchestra of choice for the highly regarded Michael Hill International ViolinCompetition.Each year the APO presents a full season of symphonic work in the Auckland region, and has recentlybrought to Auckland such artists as Nicolai Demidenko, Midori, James Ehnes, Brett Dean, DavidGeringas and Nigel Kennedy.The APO’s Music Director is esteemed German conductor Eckehard Stier.The APO collaborates with New Zealand artists such as Simon O’Neill, Teddy Tahu Rhodes and DameKiri Te Kanawa, as well as visiting international artists who have included Luciano Pavarotti, PlacidoDomingo and Jose Carreras, and “popular” musicians such as Diana Krall, Natalie Cole, BurtBacharach and Serj Tankian. APO takes pride in nurturing New Zealand artists through its main stageperformances and through its extensive education programme, which gives opportunities to youngperformers and composers. It also has a longstanding Composer‐in‐Residence programme, untilrecently the only orchestra in New Zealand to do so.2.1.1 APO Development historyThe Auckland Philharmonia Orchestra can trace its origins back to the Auckland String Playersfounded by Owen Jensen in 1940. The Auckland Philharmonia Orchestra (APO) was established in1980, originally as a musicians’ cooperative society.Six years ago the APO was on the brink of closure and financial collapse resulting from long terminadequate funding and lack of coherent and unified civic leadership. With the support of theregional mayors and central government, a comprehensive restructuring of virtually every facet ofthe APO was undertaken with what is now regarded as a successful outcome. Four features standoutas critical to that success:• Firstly, restructuring the APO on the international model of city‐based orchestras andaligning itself more closely to the Australian city‐based orchestras.• Secondly, securing the support of Auckland local government leaders. Undoubtedly thecoincidence of the Royal Commission and the birth of the Super City greatly assisted this.• Thirdly, securing additional central government support based on achievement of keytargeted performance indicators, both artistic and financial.• Finally, driving artistic standards and carefully crafted programming to meet audiencedemands demonstrated by 30 full houses in the last 2 years. In addition, APO placedemphasis on its outreach and educational programmes throughout the broader region,culminating in the launch of APO Connecting in 2011, and the introduction of SistemaAotearoa with special project funding from the Ministry for Culture and Heritage.Contextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 4

Importantly, these advances over several years by Auckland Philharmonia Orchestra weredeliberate, supported, planned for and well executed. Not by chance has the APO developed tobeing New Zealand's only fulltime city‐based symphony orchestra.2.1.2 Consolidated local government and the APOWith the advent of the Auckland Regional Amenities Funding Act in 2008 (ARAFA), the APO took itsfirst step towards achieving full city symphony orchestra standards, in further validation of thedirection in which the APO has been deliberately encouraged to develop.The consolidated regional funding in the ARAFA arrangements marked a step change in theprospects of the Auckland Philharmonia Orchestra, as indicated in Figure 1 below. Local governmentcommitted more funds and set a more sustainable financial model for the APO. This funding,enshrined in an Act of Parliament, was a precursor to the significant rearrangement of localgovernment for Auckland which led to the single Auckland Council now in place.Considering the effect on APO of the reorganisation of Auckland, it is reasonable to expect otherorchestras will be affected by local government changes in their regions in future, as their cityregionsare re‐formed around them. In early 2012 the New Zealand Government announced similarlocal government reorganisations to change other parts of New Zealand.At present the APO is ahead of other city or regional orchestras in New Zealand in thisdevelopmental progression, affected by the local government rearrangements made for Auckland bygovernment. Therefore, the situation of the APO and its relations to the broader orchestral sector inNew Zealand is a reflection of the geo‐political model that no other orchestra/city‐region yetpossesses. It is hoped that local government reforms creating other city‐regions will have a positiveeffect on orchestras in those areas, as they have done in Auckland.Figure 1: APO revenue 2007‐2010 by sourceContextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 5

2.1.3 Funding of Auckland Philharmonia OrchestraThe APO receives 26% of its income from central government. This is the smallest amount forcomparable fulltime symphony orchestras in Australasia. The APO's core funding from allgovernment sources (central government and Auckland Council) is 50% ($4.6m). Even by thiscalculation of all government sources (taxpayer and ratepayer), Auckland Philharmonia Orchestra isfunded less than any Australasian fulltime symphony orchestra with a comparable budget in a cityof comparable size.Table 1: Funding comparison of APO with other comparable Australasian orchestrasSelf‐GeneratedRevenue('000)Centraland LocalGovt funding('000)Central andLocal Govtfunding %of totalrevenueOrchestra/ yearAuckland Philharmonia Orchestra (2011) 4,652 4,450* 48.89%Adelaide Symphony Orchestra (2010) (pop1m+) 4,817 7,716 61.55%Queensland Symphony Orchestra(2010) (pop2m+) 3,544 9,826 73.49%New Zealand Symphony Orchestra (2009/10) 4,107 13,370 76.50%* APO income excludes special project funding of $190,000 from Ministry for Culture and Heritage for Sistema AotearoapilotThe accepted modern model of international best practice in this part of the world is for centralgovernment to fund city‐based fulltime symphony orchestras (eg Adelaide, Queensland [Brisbane]).City‐based orchestras make big efforts to be connected to cities even though funding is primarilyfrom taxpayers/central government. Central governments value the fact that local orchestras knowtheir audiences and 'belong', add to the cultural fabric of places, and are important facilitators ofcultural advancement. An anomaly exists for Auckland Philharmonia Orchestra wherein AucklandCouncil extends support to its city orchestra relatively more than any other city council does to itscity orchestra anywhere in Australasia.Auckland ratepayers currently contribute more to their orchestra than any other ratepayers in NewZealand contribute to theirs, and this stream of funding has reached its maximum. With currentlevels of funding from central government, the APO is unable to take the next steps in itsdevelopment and growth that would fulfil the needs of its expanding audience from Auckland, innorthern New Zealand, nationally and internationally.Normally the funding of city orchestras is primarily the preserve of taxpayers/central governmentin a higher proportion than ratepayers/local government. APO has achieved its notableachievements to date with relatively limited central government support.Normal city‐based orchestras receive funding from central government, which supports their COREactivity. Core funding of APO presently looks like this:Contextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 6

Figure 2: Government funders of APO (Central Govt and Local Govt)Considering overseas evidence of "normalised" funding for city‐based orchestras, in Australia thefollowing funding ratios for orchestras exist:Orchestra Govt City/State Govt $ City/State $ Total $Adelaide Symphony Orchestra (ASO) 74% 26% 6,353,777 2,290,380 8,644,157Melbourne Symphony Orchestra (MSO) 81% 19% 9,888,516 2,363,235 12,251,751Orchestra Victoria (OV) 77% 23% 4,848,308 1,418,198 6,266,506Queensland Symphony Orchestra (QSO) 71% 29% 7,067,486 2,817,110 9,884,596Sydney Symphony Orchestra (SSO) 76% 24% 10,326,304 3,212,653 13,538,957Tasmanian Symphony Orchestra (TSO) 80% 20% 5,987,808 1,496,952 7,484,760WA Symphony Orchestra (WASO) 76% 24% 6,528,803 2,116,599 8,645,402Average 76.4% 23.6%(Source: Major Performing Arts Board, Australia)Typical orchestra funding in Australasia averages to a 3:1 ratio between central governments andcity/local governments. In 2004 the APO funding ratio was about 4:1, whereas in 2012 APO fundingis at a 1:1 ratio. Simply put, a 1:1 funding ratio (status quo for APO) is not sustainable for fulltimecity‐based orchestras; if this were sustainable, then that 1:1 ratio would be universally applied inorchestra funding metrics. It is not.The growth and expansion of APO since 2004 has not been matched by growth and expansion inrealistic support by New Zealand government arts funding. To get to normal, either Auckland wouldneed to cut its funding to APO (which would decimate the potential of the fulltime orchestra) orcentral government needs to increase its funding of APO. The only realistic option to explore is thelatter.There is an urgent need to establish what is elsewhere typical or normal funding ratio for APO. If theAustralasian standard 3:1 ratio were to be applied, this would provide a new transparent industrystandard and measurable policy tool that could be applied successfully to assist other orchestrasin New Zealand and benefit the entire sector. It would be democratic, relevant and futureproofed.It would also likely incentivise local/regional councils to support their orchestras better.Contextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 7

2.1.4 APO reach ‐ Auckland, New Zealand, InternationalAs the Auckland Art Gallery is proclaimed to be a gallery for Auckland and for New Zealand, so theAuckland Philharmonia Orchestra is, demonstrably, an orchestra for Auckland and New Zealand:• The APO’s current national and international reach is via podcasts, recordings andbroadcasts, predominantly via Radio New Zealand Concert (which broadcasts more liveconcerts of APO than of any other orchestra ‐ because APO performs more programmesthan any other orchestra).• For Auckland the APO delivers a busy programme each year encompassing more than 50symphonic performances, 30+ engagements where it supports other arts organisations andartists, visits to 60 schools and contributes to a wide range of community activities. It alsoassists smaller orchestras through provision of advice, rehearsal space and access to musicand instruments, as required.• A small but expanding number of APO annual subscribers are resident in places beyond theregional boundary of Auckland.• Each year well over 95,000 people hear the APO at live performances and tens ‐ possiblyhundreds ‐ of thousands more listen on radio and web broadcasts around the world.As a modern symphony orchestra the Auckland Philharmonia Orchestra takes seriously itsresponsibilities within and beyond the concert hall.In 2011 the APO had 93 full orchestra performances comprising:• 42 self‐presented concerts• 9 education concerts using full orchestra (including Open Days) plus over 200 school visitscomprising small ensembles and individual musicians• 15 free community concerts• 27 commercial hires including pit performances.The APO presents and continually strengthens its annual programme of high‐quality orchestralperformances which feature a broad range of repertoire, distinguished conductors and soloists. TheAPO also offers performance opportunities at the highest level to appropriate New Zealand soloists,and develops and performs New Zealand repertoire. Its blend of high‐quality core concerts andeducation, community and outreach programmes reflects international best practice for residentfulltime city symphony orchestras.Contextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 8

3 Context for overall NZ orchestral sectorInternationally, the shape and structure of orchestral sectors reflect a country’s political and socialhistory and development. As the world has democratised and urbanised, in recent years the modelfor symphony orchestras has emphasised commercially and community‐centred city‐basedorchestras. (Refer to Appendix for APO’s analysis of national orchestra models).Currently, New Zealand does not appear to clearly fit any one established model for symphonyorchestras. The orchestra sector in New Zealand encompasses:• Two fulltime professional orchestras• Three part‐time professional orchestras• Many community orchestras• At least two part‐time professional chamber orchestras• Several semi‐professional chamber orchestras• Youth orchestras• Myriad school orchestras and bands• Hundreds of professional music teachers• Many thousands of young people taking music lessons• Approx 250 FTE employed by orchestras; over 80% with the APO and NZSOThe elder of the nation's two full time professional orchestras, the NZSO, has its origins as a radioorchestra, has a national role and also undertakes regional and international touring. The other fulltime professional orchestra, the APO, has developed in strength as Auckland has come of age as aworld‐class city. Other smaller orchestras exist in other cities.Increased professionalismFigure 3: New Zealand symphonic orchestra professionalismThe orchestral review is charged with assessing whether the current model provides for optimaldelivery of orchestral services to New Zealanders and, if not, identifying other options. A key focusas the orchestral sector moves forward is how to maintain the inherent strengths within NewZealand's two fulltime professional orchestras while refining how their services can be delivered inthe most meaningful, cost‐effective and efficient manner.Contextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 9

The Auckland market is where most public money is spent on the provision of orchestral services.Current analysis of the 5 main orchestras in New Zealand shows the following comparison (2012figures):APO VWO CHC Symph SouthernSinfNZSOCore funding of orchestras($ 000)CNZ Funding 2,100 365 750 315Local body funding 2,650Public Funding 4,750 13,5002012 performances as perbrochures/web sites“Regional” orchestras 47 10 22 10NZSO concerts as perbrochures/web siteAuckland Wellington Christchurch Dunedin14 14 5 2 47 total(includingothercentres)This table demonstrates that APO and NZSO play the same number of orchestral performances ‐ theformer in Auckland and the latter in all New Zealand. This is further evidence of the issue of size andscale of New Zealand and that Auckland is the largest market for orchestra performances. It suggeststhat APO in Auckland has an impact similar to that of NZSO across all New Zealand.4 Tipping point for Auckland Philharmonia Orchestra, the AucklandPlan and the futureCultural institutions such as Auckland Philharmonia Orchestra are essential components of theliveability of a city like Auckland. Arts and cultural organisations and activities are integral to world ‐class cities. Such cities also have well articulated arts policies that ensure that arts organisations aresustainable and focused on providing a demonstrable contribution to community, cultural andeconomic outcomes. In this part of the world fulltime symphonic orchestras in Adelaide, Melbourneand Sydney are primarily funded by central government, with some city funding.In Auckland Council's Sept 2011‐draft Auckland Plan, the Council, community and centralgovernment contributed towards a 30‐year plan for the city‐region. Chapter 3 is about culture andContextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 10

the arts, and the following excerpts from page 63 of that document 1 articulate the significance andimportance of the Auckland Philharmonia Orchestra in Auckland:3.23 As a relatively small city by international standards, Auckland is fortunate to host a range ofsignificant art and cultural institutions. Some examples are the Auckland Art Gallery, the AucklandWar Memorial Museum, the Auckland Philharmonia Orchestra and the Auckland Theatre Company.Institutions such as these capture and sustain our history and creativity – they give expression to whowe are. Most importantly, they enrich Auckland’s place in the world, particularly through tourism.These institutions create a cornerstone to our cultural infrastructure crucial to competing in theinternational arena, and instil confidence in us of our place in the world.3.24 We aim to strengthen and make sustainable the institutions that are of an internationalstandard, thereby improving Auckland’s appeal as a tourism destination.In addition to cultural outcomes from the APO, Auckland Council also recognises importance of aresident orchestra for place‐promotion, tourism and economic development.New Zealand’s other major cities ‐ Hamilton, Tauranga, Wellington, Christchurch and Dunedin ‐ willnot achieve populations in excess of a million this century whereas Auckland may well reach 2million by 2031 ‐ ie 40% of the country’s population ‐ and 2.5 million by 2041. 2The APO is therefore at a tipping point: it will very soon serve a population which is in excess of thatof all New Zealand when the national orchestra was founded in 1946. In addition the currentpopulation is more concentrated, less scattered, less sparse, more diverse, aging, moreinternationally aware and arguably more sophisticated in its tastes than was the case in 1946.The Auckland Philharmonia Orchestra is responsibly planning for this discerning and growingpopulation and the demand for its services this is expected to generate.APO has been encouraged to embrace the new model of being a fulltime city symphony orchestrabut is constrained in its ability to maximise its potential.Solving this will be the final step in what has evidently been a successful introduction of themodern fulltime city symphony orchestra model to Auckland and New Zealand. APO believesapplying the 3:1 funding ratio (see section 2.1.3) would be a clear, simple and elegant solution toencourage city‐region orchestras to develop, growing New Zealand's orchestral sector.1 http://www.aucklandcouncil.govt.nz/EN/AboutCouncil/PlansPoliciesPublications/theaucklandplan/DRAFTAUCKLANDPLAN/Pages/home.aspx2 http://www.stats.govt.nz/browse_for_stats/people_and_communities/geographic‐areas/mapping‐trends‐in‐theauckland‐region/population‐change.aspxContextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 11

Part Two: "Issues" for Auckland Philharmonia OrchestraAs identified in this document, Auckland Philharmonia Orchestra achieves excellent outcomesdespite a less than equal footing with other fulltime city‐based symphony orchestras. It has beenpunching above its weight with successes in recent years ‐ and these successes have brought goodand not‐so‐good issues to the fore.5 Repertoire and concert hall presenceAs Auckland is growing and the APO has grown with it in stature and expertise, there is increasedaudience demand in several areas:• quantity of work• breadth of repertoireThe audience wants to see more of the Auckland Philharmonia Orchestra. The APO regularly playsto full houses.In the last two years the APO has played to 30 full houses and a further 6 houses at above 85%capacity in the Auckland Town Hall.APO’s audiences also want to see wider breadth of repertoire from the APO. APO believes that withmore “space” in the marketplace, more performances of large symphonic works and APO‐generatedevents could be sustained. These would be in addition to 'orchestra for hire' events such as playingfor NBR New Zealand Opera and Royal New Zealand ballet, and commercial hires.The issue here is that APO is potentially disappointing the audiences, with whom it has built andnurtured relationships, by not meeting their expectations of its potential. This is bad for sectoraldevelopment and audience development.6 Education and Community programmesThe fact that in 2011 the APO took a large step up in community interaction with the introduction ofAPO Connecting attests that APO's community support, demand and interaction is growingsignificantly. APO has aspirations to help make Auckland a better place to live and raise a family.APO has undertaken important work with partnership schools supporting and augmenting thedelivery of the New Zealand curriculum and considerably enhancing student achievement in the artsacross Auckland by providing many "real" and authentic performance contexts and sustainedprofessional mentoring support.As an example, for 2012 APO has seen an increase of more than 30% in the number of schoolswishing to join its APOPS (Partnership with Schools) programme, taking the number from 37 to 50schools. This relationship involves multiple visits by APO musicians to each school, with a coachingand mentoring relationship with both teachers and students. As a programme with multiple touchpoints, it can only be done by an orchestra resident in the city. At the moment the programme isfunded by individuals, trusts and foundations, and the membership price charged to the schools(mostly low‐decile schools) reflects approx 20% of the actual cost of programme delivery. WithoutContextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 12

further CORE funding the APO’s ability to respond to demand for this grass‐roots level ofengagement with the community is severely compromised.The depth of community support and connection can also be demonstrated by APO's new SistemaAotearoa programme that could only have been successfully implemented in Otara due to the factthat APO's Remix the Orchestra programme, Connecting With Music initiative and APOPS PartnershipSchool programme had already built relationships in this community. The Auckland Philharmonia isin Auckland all year, has multiple opportunities to offer contact for students and adult audiences,and has a tight feedback chain to hear what its public think of it.In the Fall 2011 edition of Symphony, the magazine of the League of American Orchestras, Leaguepresident Jesse Rosen writes of an increasing need to serve a wide cross‐section of communities. Heargues that sustaining and growing this community need has never been more important. Thepresident of the Milwaukie Symphony says “Getting Community Engagement right will involveorchestras re‐thinking themselves from top to bottom as cultural service agencies rather than highendentertainment companies.” 3Auckland Philharmonia Orchestra has understood this for years, and with the launch of APOConnecting in 2011, formalised this dimension of its offer as being core business.However, the issue here is that there is demand for more of this outreach than APO can meet withcurrent hand‐to‐mouth resources of these programmes, which run very lean.To expand the programme to meet current and projected demand would require increased corefunding on which the organisation can depend and with which it can plan with confidence.7 Player­related issuesAuckland audiences expect, demand and deserve high standards from their resident orchestra. It isdifficult for APO to attract and retain players to meet this increasing demand for technical expertiseand mastery for several reasons, specifically:7.1 Earning levels and core fundingAPO is limited to paying players below the going rate for professional orchestras. Common practicefor paying wages of orchestra members is to use core funding for this core operating expense. TheAPO derives its core funding from two sources: Auckland Council (25%) and central government (viaCreative New Zealand) (24%). This totals 49% of APO's revenue. This is in stark contrast to other cityorchestras and to the New Zealand Symphony Orchestra, which enjoy a bedrock of funding supportand can remunerate (and programme) accordingly.The issue here is that APO receives relatively less core funding from central government than othercity symphony orchestras and therefore finds it harder to attract and retain top players.3 Symphony, Fall 2011, P17Contextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 13

The APO needs to be able to offer more work (ie controlled by the APO itself rather than externalhirers) to its players. It can only do this through more core funding enabling a competitive and liveablerate.7.2 Destination OrchestraWith its limited pay rate, and a form of employment that appears unstable and which no otherprofessional orchestra in Australasia follows, musicians do not widely regard the APO as a"destination" orchestra ‐ ie one to which a player can be assuredly contracted for a tenure of severalyears and in which the player's career can progress.The issue here is about the difficulties for the APO in getting players of the high standard thatAuckland is demanding. Challenges exist for APO in attracting high‐level players, and maintaining asense of identity and belonging for players.7.3 Players are not on salaryA unique pay model exists at APO for players, who are contractors and not employees.The difference is about security of income for the players, all of whom identify as fulltimeprofessional musicians engaged by the APO. The issue is that players need to be able to earn asustainable income from APO, but may have to supplement their incomes with temporary work,often including work in other (non‐music) sectors, which at times can detract from the ability tokeep themselves fresh and well prepared artistically, in order to make ends meet.7.4 Core size of orchestraCurrently the APO is home to 70 fulltime orchestra players. Extra players are contracted in asavailability and the budget allow, bringing the orchestra to its full complement for targeted specificevents such as performances of music by Romantic and 20 th century composers that form the core ofthe repertoire for any symphony orchestra.Due to core funding levels, the APO regularly performs late Classical/ early Romantic repertoire with10+ fewer players than when the NZSO performs similar repertoire. This is sometimes reflected in asound that is not as rich as the repertoire demands.The issue here is that APO could gainfully employ from within, and in addition to, this pool of localtalent to meet its programme demands on a permanent basis. It cannot do so because of the corefunding issues raised above.8 Practical implications: Efficiency of deliveryIt is not possible for the APO to access detailed information about other orchestras’ budgets, and inparticular about the NZSO’s, including all of the costs associated with its travel to Auckland.However, from experience APO does know that it is substantially less expensive for APO to contracta local player for an APO concert (including rehearsals) than it is to engage an NZSO player who is onrespite (but still on full pay from NZSO) to come to Auckland and perform with APO. Costs for anNZSO player’s travel, hotels and per diems (ie excluding any salary) are still more expensive than anAPO player’s wages for a week of work.Contextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 14

Costs for the NZSO to travel to Auckland approx 13 times a year (13 concerts are scheduled in 2012)include plane travel, hotels, per diems, trucking costs, bus costs, in addition to production,advertising, artists and salary costs.With so many areas in New Zealand NOT having their own professional orchestra, the questionneeds to be asked whether the taxpayer dollar is being most effectively used by the NZSO coming toAuckland as many times as it does, to play repertoire that the APO is now able to deliver at a highartistic level.Part Three: Solution pathways and APO learnings for NZ orchestralsector modelAPO has a number of ideas to contribute to some solutions for the orchestral sector. We are keen tomeet to discuss these.With an improved structure and greater funding relativity across the country, the orchestras couldlook for opportunities for collaborative planning. This may include sharing of artists andcollaboration on programme planning in a way that could celebrate the unique size and scale of NewZealand. An example might be a festival of music by one composer presented in such a way thatworks appropriate to the size of the orchestra were performed in each city, forming acomplementary whole that would be greater than the sum of the parts across the country.It is this kind of real‐world, collaborative, cohesive and forward‐looking environment that the APOhopes can be achieved through the orchestral review for this sector and for New Zealand.ConclusionA glass ceiling has been hit by APO. It cannot proceed to its next step as the fulltime symphonyorchestra that Auckland demands and wants it to be because it does not have sufficient COREFUNDING of the type that normally comes/would be expected to come from central government.At present APO exists on a ratio of 1:1 funding ‐ that is, $1 from Central Government and $1 fromAuckland Council. The normal ratio for this funding in Australasia is 3:1. As a fulltime city‐basedsymphony orchestra, APO is significantly underfunded by central Government.APO continues to prove that it is a good investment for New Zealand Government orchestralspend. However, APO receives less core funding than any other comparable fulltime citysymphony orchestra, which limits its ability to develop and to meet current and future demand.In addition, government should consider looking at the most efficient and strategic use for thenational orchestra.APO is excited about its developing role, is poised to take up the challenges and opportunities of itsfuture, and looks forward to an improved orchestral environment as a result of this review.Contextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 15

Appendix ­ 1What can New Zealand learn from National Orchestra models?1 IntroductionWhile many orchestras around the world either term themselves a national orchestra or bear thename of their country, beyond the national flag‐bearing name, a single agreed‐upon definition forwhat makes a national orchestra does not exist. There are many types of national orchestra. Most ofthem, however, fall into a number of categories, outlined below.A reasonable number are national orchestras by default because their country is not of sufficientsize, has a population that is mainly rural rather than urban or lacks depth of a Western culturaltradition which is the origin of the art form. Examples are the Liechtenstein Symphony Orchestra,the Orquesta Sinfonica Nacional de Costa Rica, National Orchestra of Malta or the nationalsymphony orchestras of Iceland, Singapore or Ghana.In some cases it is clear that there has been a specific effort to ‘jump start’ an orchestral tradition –as with Ghana above, or with the Dubai Symphony Orchestra, the Malaysian Philharmonic Orchestraor the Thai National Symphony Orchestra.Another category of orchestras simply call themselves "national orchestras" in order to have a pointof difference amongst the many other orchestras in their environment – the National SymphonyOrchestra in the USA, the Czech National Symphony Orchestra or the Russian National Orchestra areexamples of this type. The latter is, interestingly, privately funded by an international foundation,much of which is based in the UK and the USA.2 Two main types of national orchestraBeyond these categories, the majority of national orchestras that can validly claim the name tend tohave evolved out of one of two antecedent models: the state orchestra or the radio orchestra. Thereare a number of anomalous examples outside these two main categories.2.1 State OrchestrasMany of the former communist states had official state orchestras. As a rule, these orchestras werenever intended to be touring orchestras within the country, rather they were intended to be flagshiporchestras, raising the kudos of the capital on the one hand, and being an overseas representativeon the other. This could involve touring internationally, or being a feature at festivals or events ofinternational profile. Other orchestras could and did exist alongside a state orchestra, but onlythrough official licence, and none was allowed to compete with the state orchestra with repertoireconcert hall presence. A small number of such state orchestras still exist, such as the China NationalSymphony Orchestra, the Iran National Symphony Orchestra or the National Orchestra of thePeople’s Democratic Republic of Korea.Since the fall of communism in the West many of these former state orchestras have continued tobe supported by their new state, although of course other orchestras can and have arisen. ThisContextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 1

model is still used in most formerly communist states, but a softer version of it has appeared inother countries such as Belgium, Spain and Mexico. Interestingly, in all of these cases the countriesare highly federalised, with diverse and conflicting local populations. In these countries it wouldappear to be politically expedient to form a non‐ethnic national orchestra in the capital which canrepresent the country internationally without exacerbating cultural divisions. Belgium’s mainorchestras, for example, are the Royal Flemish Philharmonic, the Chamber Orchestra of Wallonie,the Liege Philharmonic and, arguably, the orchestra of the Flemish Opera, rather than the BelgianNational Orchestra. Spain and Mexico both support a vibrant orchestral culture at the provinciallevel and the national orchestra in each case is more an expression of the unity and centralisation ofthe state than something fulfilling an otherwise unoccupied niche.2.2 Radio OrchestrasAnother evolutionary path for many national orchestras lay through the national broadcaster. In theearly days of radio, national broadcasters, being substantial institutions in their own right, were thebest equipped to become purveyors of live and broadcast music. Most large broadcasters retainedat least one orchestra, and some, like the BBC, retained several. In Australia and Germany, eachstate had its own orchestra attached to the state chapter of the national broadcaster. Although anumber of orchestras around the world remain radio orchestras, notably in Italy, Britain, Brazil andGermany, many orchestras devolved from their national broadcasters to take on an independentexistence. In some cases where it was clearly appropriate, the former radio orchestra took on themantle of national orchestra. This has happened in places like Ireland, France, Portugal andDenmark, where “national” tends to be in contradistinction to “local” – that is to say that thenational orchestras have a specific mission to develop orchestral music, promote artists or preservethe national orchestral tradition. This is especially the case with the Orchestre National de Franceand the Irish orchestra, formerly the RTE Orchestra. This does not give them a physical presencenationally and this is not necessarily seen as part of their remit. Most of the former radio orchestrasretain connections with the radio networks, and tend to broadcast rather than tour the country,although the Irish National Symphony Orchestra does undertake one regional tour per year.3 Functions of National orchestras3.1 Ambassadorial functionIn both the above models, the concept of a “national orchestra” is primarily designed to indicate anexternal relation rather than an internal one. That is to say, the orchestra is first and foremost anambassador of sorts rather than something designed to function within the country itself. It isnoticeable that where there is a single orchestra, or a number of orchestras within a country thatcan serve the ambassadorial purpose without causing political problems, a national orchestra is notapparently regarded as necessary – see for example Holland, Norway, Finland or Canada.3.2 Domestic functionNational Orchestras with a specific domestic purpose are extremely unusual. Several nationalorchestras tour to one or more centres outside of their base. The Brazilian orchestra is based in Riode Janiero but does a series of four concerts in Sao Paolo. The Japan Philharmonic is based in TokyoContextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 2

ut plays a series of concerts in Yokohama and individual concerts elsewhere. In both cases thereare commercial reasons for these touring decisions rather than matters of remit or mission.3.3 National Touring OrchestrasVery few examples exist of a national touring orchestra. The main ones are the Royal ScottishNational Orchestra, the Israel Philharmonic and the New Zealand Symphony Orchestra (NZSO).3.3.1 The Royal Scottish National Orchestra is based in Glasgow, touring mainly to Edinburgh,Dundee and Aberdeen. Glasgow is Scotland’s largest city (pop 1,750,500 in greater region comparedto Edinburgh’s 1,250,000 in greater region). The other two cities are substantially smaller, withpopulations of 170,000 and 202,370 respectively. None is more than 220km from Glasgow, andEdinburgh is only 68km away. Practically uniquely, Scotland’s national orchestral provision issupplied by the touring of the RSNO and the BBC Scottish Symphony Orchestra (also based inGlasgow), which takes in the more outlying areas. The opera is served by its own pit orchestra.Scotland possesses no professional city orchestras, a situation paralleled in Wales, but in sharpdistinction to England. It is of course hard to separate cause and effect, but clearly it would bepointless to try and establish a city symphony orchestra in Glasgow with two major orchestrasalready based there; and given that Edinburgh is less than an hour away by train and in any caseserviced by the RSNO, it would be equally unnecessary to establish an Edinburgh symphonyorchestra.3.3.2 Israel Philharmonic Orchestra has the unusual distinction of being 10 years older than thenation it represents, having been formed by émigrés to Palestine from central Europe in the 1930s.Given the significance of establishing national identity and of distinguishing itself from the countriesaround it, it was practically a foregone conclusion that the Israeli state would strongly support anational orchestra, along with flagship opera and ballet companies. Israel is also on the borderline ofbeing too small to support more orchestras – the entire country could fit comfortably inside theWaikato region. It is only because of the high population density and the large number of easternEuropean immigrants – with the correspondingly high levels of musical activity and audience base –that more orchestras are even conceivable. The IPO is based in the capital Tel Aviv but toursinternationally and also around the country, playing regularly in Jerusalem and Haifa, as well asother centres. Tel Aviv is a city of 400,000+ people, and Jerusalem 63km away has almost doublethat amount but is of course a divided population. The regional governance issues of Jerusalem aresuch that even Auckland’s pale into insignificance beside them. Nevertheless, there is a JerusalemSymphony Orchestra, which was originally the national radio orchestra, and which is now a cityorchestra offering concert programmes and education programmes. It has struggled for funding eversince being separated from the national radio, and faces an uncertain future for any number ofreasons, not least being the shifting demographics of the Jerusalem region.Contextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 3

3.3.3 New Zealand Symphony Orchestra exists within a set of arrangements that are unique inworld terms. It was founded in 1946 after the success of the Centennial Festival Orchestra in 1940.At the time orchestral culture in New Zealand was driven, like many other aspects of New Zealandculture and society, from the grassroots by amateurs or expatriate professionals of various levels ofaccomplishment, some of a very high level. It is important to note that in its establishment, theNZSO was always intended to be the “jump‐start” sort of orchestra that would create an audienceand demand for orchestral music, and would hopefully in turn lead to an ongoing and sustainableorchestral culture in New Zealand where at the time there was no orchestra. It was certainlyintended to tour the country and provide orchestral music in areas that did not have access toprofessional orchestral music making. In this sense it is more akin to the Royal Scottish NationalOrchestra model.The strategic role of the NZSO is acknowledged in its establishment by Act of Parliament and itsconsequent close relationship to government, especially as regards its funding streams. It now alsohas a clear flag‐bearing ambassadorial role, touring internationally, playing in festivals and having astrong recording presence, with a special mission to record New Zealand music. This last elementseems a particularly sensible approach for an orchestra in this remote part of the world that seeks tofulfil an ambassadorial role on an ongoing basis.4 Praise and Problems with the National Orchestra in New ZealandBased on this examination of national orchestras from around the world, it appears that the role andfunctions of the NZSO in the New Zealand orchestral scene in 2012 are much less clear than theywere under the original intentions when it was established.Considering the NZSO was intended to jump start an orchestra culture in New Zealand, it has beenextremely successful as there are now numerous orchestras with strong audiences throughout thecountry. Jump starting is, however, the first phase of creating a healthy orchestral milieu. Once anorchestral audience and culture is established, the presence of a national touring orchestra, as wehave seen in the case of the Royal Scottish National or the Israeli Philharmonic orchestras, can in factstrongly hinder the ongoing development of the orchestral provision. In New Zealand there is now ademonstrable audience for orchestral music in several major centres. The NZSO is required to tourmore regularly, more extensively and over much longer distances than any other national orchestra:it therefore lacks the time and resources to adequately satisfy current levels of demand.At the same time, the disproportionately significant resources devoted to enable the running costsof the NZSO mean that establishing stable, viable city orchestras to further the development oforchestral culture beyond the limitations of the NZSO’s reach is not affordable. This key pointrequires further examination.Firstly, it is increasingly the case that the largest part of the role of a 21 st century orchestra is in itsrelationship with the community it serves. Its facilitation of music education and social programmesis as much a raison d’être of the modern orchestra as subscription concerts. These functions can onlybe fulfilled by a resident orchestra that can establish deep and wide links with its community, withmultiple and diverse points of contact on a frequent and regular basis.Contextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 4

Secondly, in an era of economic instability and concern about climate change, it has to bequestioned whether it is desirable, let alone environmentally and economically prudent, for agovernment to be aligning with a model that promotes, in the NZSO, one of the largest carbonfootprints of any orchestra in the world. In a nation trying to capitalise on its green credentials, thiscould be considered an inconsistent message.Mainly, however, New Zealand finds itself in an anomalous situation, with a national touringorchestra that, having successfully jump started an orchestral culture, is now potentially inhibitingfurther development of that carefully‐nurtured sector. This situation might not be so serious inScotland or Israel where distances between major centres are not great; Edinburgh audiences canstill be served by Glasgow concerts, or Jerusalem audiences can be served by Tel Aviv concerts.In New Zealand, however, the lack of properly funded city orchestras, and the inability of thenational orchestra to adequately satisfy the demand, is a serious blockage to further culturaldevelopment in this field.As an ambassadorial orchestra the NZSO functions extremely well. However, that ambassadorialpurpose is by definition to showcase cultural achievement of the country, not to be a delimitingfactor.Contextualising Auckland and the NZ orchestral sector Auckland Philharmonia Orchestra Page 5

APO Education Activity 2011JANUARY Date Event Venue Audience/Target market10-Jan-11(APO offices re open for the year)17-Jan-11 17-22 Jan Orchestral Summer School St Cuths Full orchestral mentoring weeklong23-Jan Summer School Finale concert St Cuths Clouston Hall-gen public24-Jan-11 27-Jan APOPS ensembles prep session for Mousike Ensemble Phil Hall APO staff collaborate with APO musicians31-Jan-11 2-Feb APOPS mentoring Katherine Hebley St Kentigern College Secondary School instrumentalists2-Feb staff project visit to APOPS school Remuera Int, Diocesan Supporting school music teachers3-Feb staff project visit to APOPS school Glendowie, Parnell, BBI Supporting school music teachers4-Feb staff project visit to APOPS schoolPt Chev, Pasadena,Rangeview Supporting school music teachersFEBRUARY07-Feb-11 9-Feb APOPS ensembles prep session for ALL Stars Ensemble Phil Hall Schools9-Feb Staff project visit to APOPS school Western Springs Supporting school music teachers10-Feb APOPS ensembles prep session for Jade String 4tet Phil Hall Schools10-Feb APOPS mentoring Katherine Hebley St Kentigern College Secondary School instrumentalists10-Feb APO Fellow auditions take place Phil Hall post grad instrumentalists10-Feb staff project visit to APOPS school Howick College Supporting school music teachers11-Feb staff project visit to APOPS school Baradene, Henderson Valley Supporting school music teachers14-Feb-11 14-Feb APOPS mentoring Katherine Hebley St Kentigern College Secondary School instrumentalists15-Feb staff project visit to APOPS school Epsom Girls, Auckland Girls Supporting school music teachers16-Feb staff project visit to APOPS school Kristin, Mt Roskill Grammar Supporting school music teachers17-Feb staff project visit to APOPS school Parnell Distict School Supporting school music teachers20-Feb APO Open Day Bruce Mason Bruce Mason general public20-Feb APOPS mentoring Katherine Hebley St Kentigern College Secondary School instrumentalists21-Feb-11 21-Feb Young Achievers programme beings various high achieving Sec sch and Uni students21-Feb staff project visit to APOPS school Matipo Pri, Corran School Supporting school music teachers22-Feb APOPS mentoring Katherine Hebley St Kentigern College Secondary School instrumentalists22-Feb staff project visit to APOPS school Albany Senior, Orewa College Supporting school music teachers23-Feb staff project visit to APOPS school Selwyn College Supporting school music teachers24-Feb APO Connecting launch-remix performance Aotea Centre Media24-Feb staff project visit to APOPS school St Kents, Mission Heights, Supporting school music teachers24-Feb staff project visit to APOPS school Howick, Kings Supporting school music teachers28-Feb-11 28-Feb APOPS mentoring Katherine Hebley St Kentigern College Secondary School instrumentalistsMARCH1-Mar staff project visit to APOPS school Liston College Supporting school music teachers2-Mar APOPS ensembles prep session for Woodwind 5tet Phil Hall Schools2-Mar staff project visit to APOPS school Glenfield College, Birkenhead Supporting school music teachers3-Mar selection of Secondary School Scholars for 2011 Green Rm AK Sec Schs. Panel of APO SLs4-Mar staff project visit to APOPS school Selwyn College Supporting school music teachers4-Mar Lee runs Central schools cluster meeting Auckland Girls Grammar Support for Secondary school teachers6-Mar APOPS mentoring Jonathan Baker Ponsonby Primary Primary School students6-Mar AYO mentoring Anne & Evgeni Ponsonby Primary instrumentalists under 2507-Mar-11 7-Mar Allstars APOPS Ensemble Mock Perf Practice Alberton House Community groups8-Mar Huw Dann APOPS mentoring Orewa College Secondary School instrumentalists9-Mar Mousike mentoring Rangeview Int Intermediate school orchestra sectionals10-Mar Sue Wedde APOPS mentoring Howick College Secondary School instrumentalists10-Mar APOPS mentoring Katherine Hebley St Kentigern College Secondary School instrumentalists10-Mar Sue Wedde APOPS mentoring Mission Heights Junior Intermediate School students11-Mar Jade 4tet APOPS Ensemble Mock Perf Practice Mt Albert Library Community groups14-Mar-11 15-Mar Huw Dann APOPS mentoring Orewa College Secondary School instrumentalists16-Mar Claudia Price APOPS mentoring Kristin School Secondary School instrumentalists17-Mar APOPS mentoring Katherine Hebley St Kentigern College Secondary School instrumentalists21-Mar-11 21-Mar APOPS Ensemble perf The Allstars Parnell District School Interactive school concerts21-Mar APOPS mentoring Greg Parnell District School supporting the school curriculum21-Mar APOPS Ensemble perf Jade 4tet Bucklands Beach Int Interactive school concerts21-Mar staff project visit to APOPS school ACG Parnell School APOPS Ensemble PD feedback22-Mar In Your Neighbourhood school visit Catherine Mt Eden Normal Primary relationship-building initiative22-Mar Sarah Hart APOPS mentoring Baradene College school orchestra mentoring24-Mar Huw Dann APOPS mentoring Orewa College sectionals school concert band24-Mar APOPS Ensemble perf Mousike Matipo Primary Interactive school concerts24-Mar staff project visit to APOPS school Te Atata Intermediate Supporting school music teachers24-Mar In Your Neighbourhood school visit Catherine Maungawhau Primary relationship-building initiative25-Mar Sue Wedde APOPS mentoring Howick College chamber music tutoring25-Mar Sue Wedde APOPS mentoring Mission Heights Junior intermediate school instrumentalists27-Mar AYO mentoring strings, brass & wind St Cuthberts College community orchestra sectionals28-Mar 28-Mar Claudia Price APOPS mentoring Kristin School Secondary School instrumentalists29-Mar APOPS mentoring James Fry Glenfield College performance mentoring29-Mar staff project visit to APOPS school Kristin School school show support29-Mar Sarah Hart APOPS mentoring Baradene College school orchestra mentoringAPRIL 1-Apr APOPS mentoring Katherine Hebley St Kentigern College Secondary School instrumentalists3-Apr APO 4 Kids concerts Bruce Mason ages 2-6 and their families4-Apr Claudia Price APOPS mentoring Kristin School Secondary School instrumentalists5-Apr staff project visit to APOPS school Westlake Girls High Supporting school music teachers8-Apr Sue Wedde APOPS mentoring Howick College chamber music tutoring04-Apr-11 9-Apr APO 4 Kids concerts TelstraClear 2 shows of 45 mins ea10-Apr APOPS mentoring James Fry Glenfield College performance mentoring10-Apr APOPS mentoring Katherine Hebley St Kentigern College Secondary School instrumentalists10-Apr APOPS mentoring Katherine Hebley Parnell District School performance mentoring11-Apr-11 11-Apr In Your Neighbourhood school visit Catherine Kowhai Intermediate relationship-building initiative12-Apr Lee attends Auckland Educators Term meeting Auckland Zoo network of Auckland educators13-Apr Waitemata Youth Forum - Lee takes part Auckland Girls Grammar involving in youth development of Auckland13-Apr Brass & Percussion Fanfare competition Phil Hall Secondary Sch composers15-Apr Two musicians In Your Neighbourhood visit Mt Eden Playcentre Early childhood visit15-Apr APOPS mentoring Katherine Hebley Parnell District School performance mentoring15-Apr Anne Draffin APOPS mentoring Auckland Girls Grammar performance mentoring16-Apr APO 4 Kids concerts Town Hall general public18-Apr-11 18-Apr APOPS mentoring James Fry Glenfield College performance mentoring19-Apr APOPS mentoring Katherine Hebley St Kentigern College Secondary School instrumentalists

20-Apr Sue Wedde APOPS mentoring Howick College chamber music tutoring20-Apr APOPS mentoring Katherine Hebley Parnell District School performance mentoring18-21 Remix the Orchestra Volume 1 OMAC Gifted composers Sec, Uni & adult tchrs21-Apr In Your Neighbourhood school visit Catherine Balmoral SDA School relationship-building initiative25-Apr-11 25-Apr APOPS mentoring James Fry Glenfield College performance mentoring26-Apr Claudia Price APOPS mentoring Kristin School Secondary School instrumentalists27-Apr APOPS mentoring Katherine Hebley Macleans College school orchestra mentoring28-Apr Jenny Raven APOPS mentoring Te Atata Intermediate school orchestra mentoring28-Apr In Your Neighbourhood school visit Catherine Mt Albert Primary relationship-building initiativeMAY02-May-112-May selection of YPC finalists & ICW attendees2-May APO muso CWM sch visits2-May APOPS mentoring Katherine Hebley Macleans College school orchestra mentoring3-May Discover NZ Music concert Town Hall Sec Sch students Taupo North3-May Auckland Educators Meeting Lee attends Auckland Maritime Museum Auckland network of educators4-May Young Achievers Recital 1 Central Library General public5-May Connecting With Music visit Tim & Lee Pinehurst School Secondary School post-concert visit5-May APOPS mentoring James Fry Glenfield College performance mentoring5-May Mousike Ensemble APOPS visit Corran School interactive concert visit6-May Sue Wedde APOPS mentoring Howick College chamber music tutoring6-May Anne Draffin APOPS mentoring Auckland Girls Grammar performance mentoring09-May-11 9-May APOPS mentoring Katherine Hebley Macleans College school orchestra mentoring9-May selction of finalists for the Young Perf Competition Phil Hall APO section leaders select students10-11/05/2011Writers & Readers Festival perf Aotea Centre General public audience, composers13-May The Allstars APOPS Ensemble visit Mission Heights Junior interactive school concert13-May APOPS mentoring James Fry Glenfield College performance mentoring13-May Huw Dann APOPS mentoring Orewa College performance mentoring13-May Huw Dann APOPS mentoring Auckland Girls Grammar performance mentoring13-May Anne Draffin APOPS mentoring Auckland Girls Grammar performance mentoring16-May 20-May Tom, Elena & Greg APOPS mentoring Pt Chevalier Primary string ensemble tutoring20-May Sue Wedde APOPS mentoring Howick College chamber music tutoring20-May Jenny Raven APOPS mentoring Te Atata Intermediate school orchestra mentoring20-May APOPS mentoring Katherine Hebley Parnell District performance mentoring20-May APOPS mentoring Anne Draffin Auckland Girls Grammar performance mentoring23-May-11 23-May APOPS mentoring Katherine Hebley Macleans College school orchestra mentoring23-May staff project visit to APOPS school Tironui Papatoetoe Instrumental programme support25-May Siemens School pre-concert visit Katherine & Catherine Oranga Primary Primary school pre-concert visits25-May Anne Draffin APOPS mentoring Remuera Intermediate ensemble mentoring25-May APOPS mentoring Norm & Anne Rangeview Intermediate school orchestra mentoring26-May APO Wind Quintet school concert Albany Senior High interactive school concerts26-May Anne Draffin APOPS mentoring Auckland Girls Grammar performance mentoring27-May Connecting With Music school visit James & Lee Marcellin College Secondary School pre-concert visit27-May Connecting With Music school visit James & Lee Wesley College Secondary School pre-concert visit27-May Connecting With Music school visit James & Lee Waitakere College Secondary School pre-concert visit29-May APOPS mentoring James Fry Westlake Girls High School orchestra mentoring29-May Tom, Elena & Greg APOPS mentoring Pt Chevalier Primary string ensemble tutoring29-May Sarah Hart APOPS mentoring Baradene College school orchestra mentoring30-May-11 30-May Connecting With Music school visit Greg & Lee Henderson High Secondary School pre-concert visit30-May Connecting With Music school visit Nick & Lee De La Salle College Secondary School pre-concert visit30-May Connecting With Music school visit Tim & Lee Selwyn College Secondary School pre-concert visit31-May CWM #1 donor ticket concert Manukau TCP AK low decile Sec Schools31-May APOPS mentoring Mark Bennett Westlake Girls High School orchestra mentoring31-May Jonathan Baker APOPS mentoring Westlake Girls High School orchestra mentoringJUNE2-Jun APO Wind Quintet school concert Orewa College interactive school concerts2-Jun Tom, Elena & Greg APOPS mentoring Pt Chevalier Primary string ensemble tutoring2-Jun Huw Dann APOPS mentoring Orewa College performance mentoring06-Jun-11 6-Jun Martin Lee AYO mentoring St Peters College community orchestra mentoring7-Jun Mousike Ensemble APOPS visit Birkenhead College interactive concert visit8-Jun Siemens School pre-concert visit Katherine & Catherine Bailey Road School Primary school pre-concert visit9-Jun Michael Hill International Violin Competition Workshop St Marys Collegestring masterclass10-Jun APO Wind Quintet school concert Mt Roskill Grammar interactive school concert10-Jun Tom, Elena & Greg APOPS mentoring Pt Chevalier Primary string ensemble tutoring11-Jun APOPS mentoring Katherine Hebley Macleans College school orchestra mentoring11-Jun Sarah Hart APOPS mentoring Baradene College school orchestra mentoring13-Jun-11 13-Jun Connecting With Music school visit Cameron & Catherine Aorere College Secondary School pre-concert visit13-Jun Connecting With Music school visit Nick & Lee Alfriston College Secondary School pre-concert visit14-Jun Jenny Raven APOPS mentoring Baradene College school orchestra mentoring15-Jun The Planets Live Town Hall Science students Years 5-1316-Jun AYO support by staff St Peters College community orchestra mentoring17-Jun Sacre School visit Nick & Lee Hay Park Primary Primary school pre-concert visit17-Jun Composer-in-Residence day workshop Phil Hall age 16 up17-Jun Connecting With Music school visit Nicola & Lee Tangaroa College Secondary School pre-concert visit17-Jun Connnecting With Music school visit Greg & Lee Manurewa High Secondary School pre-concert visit17-Jun Tom, Elena & Greg APOPS mentoring Pt Chevalier Primary string ensemble tutoring17-Jun Allstars APOPS ensemble school visit Pasadena Intermediate interactive school concert17-Jun Anne Draffin APOPS mentoring Remuera Intermediate school orchestra mentoring20-Jun-11 20-Jun Connecting With Music school visit Nick & Lee Edgewater College Secondary School pre-concert visit22-Jun Connecting With Music school visit Nick & Lee Papakura High Secondary School pre-concert visit23-Jun Connecting With Music school visit Nick & Lee Onehunga High Secondary School pre-concert visit24-Jun Connecting With Music school visit Nicola & Lee Auckland Girls Grammar Secondary School pre-concert visit24-Jun Anne Draffin APOPS mentoring Remuera Intermediate ensemble mentoring24-Jun Tom, Elena & Greg APOPS mentoring Pt Chevalier Primary string ensemble tutoring24-Jun Sue Wedde APOPS mentoring Howick College chamber music tutoring25-Jun Jenny Raven & Sarah Hart APOPS mentoring Baradene College school orchestra mentoring27-Jun-11 27-Jun Connecting With Music school visit Nick & Lee McAuley High Secondary School pre-concert visit27-Jun Connecting With Music school visit Nick & Lee Mangere College Secondary School pre-concert visit29-Jun Connecting With Music school visit James & Lee Mt Roskill Grammar Secondary School pre-concert visit30-Jun Individual Composer Mentor tutorials Phil Hall General Public30-Jun Jenny Raven APOPS mentoring Baradene College school orchestra mentoring30-Jun Tom, Elena & Greg APOPS mentoring Pt Chevalier Primary string ensemble tutoringJULY

01-Jul-11 1-Jul Connecting With Music school visit Catherine & Mark Kelston Girls High Secondary School pre-concert visit1-Jul Connnecting With Music school visit Greg & Lee Massey High Secondary School pre-concert visit1-Jul Connecting With Music school visit Catherine & Mark Liston College Secondary School pre-concert visit1-Jul Allstars APOPS ensemble school visit Liston College interactive school concert1/07/2011 Interactive Composing Workshop Phil Hall Years 9 & 10 Sec Sch students4/07/2011 Connecting With Music school visit Tim & Lee Green Bay High Secondary School pre-concert visit4/07/2011 Connecting With Music school visit Nick & Lee Tamaki College Secondary School pre-concert visit4-8 July Remix the Orchestra Volume 2 OMAC At-risk youth5/07/2011 Young Performers' Competition Phil Hall audience for Secondary School instrumentalists6/07/2011 Katherine Hebley APOPS mentoring Auckland Art Gallery composition project mentoring6/07/2011 AYO mentoring Martin Lee Snells Beach community orchestra mentoring07-Jul-11 7-Jul James Fry APOPS mentoring Macleans College School orchestra mentoring7-Jul APOPS mentoring Jess Hindon Pt Chevalier Primary string ensemble tuition6-Jul CWM #2 donor ticket concert Town Hall Town Hall West AK and lo decile Sec Schs AK7-Jul Katherine Hebley APOPS mentoring Parnell District performance mentoring9-Jul AYO mentoring James Fry & Mark Bennett & Anne St Peters College community orchestra mentoring10-Jul AYO mentoring Martin Lee Snells Beach community orchestra mentoring11-Jul Connecting With Music school visit Catherine & Brent Te Papapa Primary Siemens school pre-concert visit11-Jul Siemens School pre-concert visit Brent & Catherine St Josephs Primary Siemens school pre-concert visit14-Jul James Fry APOPS mentoring Macleans College School orchestra mentoring14-Jul Mousike Ensemble APOPS visit Rangeview Intermediate interactive school concert15-Jul AYO mentoring Martin Lee & Huw Dann Snells Beach community orchestra mentoring18-Jul-11 18-Jul Jenny Raven APOPS mentoring Baradene College school orchestra mentoring20-Jul Katherine Hebley APOPS mentoring Parnell District performance mentoring22-Jul AYO mentoring Anne Draffin St Peters College community orchestra mentoring25-Jul-11(school holidays)AUGUST01-Aug-11 2-Aug In Your Neighbourhood school visit Catherine Balmoral Intermediate relationship-building initiative5-Aug Sacre School visit Nick & Lee New Lynn Primary pre-concert school visit3-Aug APO Big Play In Town Hall Community and sch instrumentalists5-Aug Greg McGarity APOPS mentoring Glendowie College performance mentoring08-Aug-11 8-11 AugustSiemens Conductor Experience Phil Hall, Town Hall leadership programme for Secondary stu9-Aug Greg McGarity APOPS mentoring Glendowie College performance mentoring9-Aug APO Section leaders lunch with students Phil Hall at-risk leadership mentoring9-Aug AYO mentoring Dianna Cochrane St Peters College community orchestra mentoring11-Aug Huw Dann APOPS mentoring Orewa College performance mentoring12-Aug APO Wind Quintet APOPS school visit Diocesan School composition mentoring12-Aug Huw Dann APOPS mentoring Albany Senior High performance mentoring12-Aug Anne Draffin APOPS mentoring Remuera Intermediate ensemble mentoring12-Aug staff project visit to APOPS school Parnell District APOPS project support12-Aug James Fry and Lee themed school visit Northcote Primary supporting school curriculum15-Aug-11 20-Aug Young Achievers Recital 2 Gov House Guild, Friends22-Aug-1129-Aug-11 2-Sep Kiwi Kapers concerts Aotea Primary schools2-Sep Secondary School schloarship tutoring Aotea & Phil Hall APO Section leaders individual mentors4-Sep James Fry & Anne Draffin AYO mentoring St Peters community orchestra mentoringSEPTEMBER05-Sep-11 7-Sep Sacre school visit Nick & Lee Kristin School dance project pre-concert visit8-Sep James Fry AYO mentoring Howick College performance mentoring12-Sep-11 12-Sep Jade Quartet APOPS Ensemble visit Matipo Primary interactive concert visit19-Sep-11 24-Sep AYO mentoring Anne Draffin St Peters College community orchestra mentoring27-Sep Attending APOPS school show Parnell District School supporting partner school26-Sep-11 2-Oct Town Hall Open Day Town Hall General PublicOCTOBER03-Oct-11 3-Oct Ros attended Tironui Trust mentoring session Papatoetoe Primary supporting instrumental programme5-Oct APOPS mentoring Norm & Anne Rangeview Intermediate school orchestra mentoring10-Oct-11 selection of Summer Sch participants Phil Hall APO Section leaders17-Oct-11(school holidays)20-Oct APO 2012 Season Preview concert Town Hall Media, subscribers, school teachers/students?24-Oct-11 24-Oct Ros visiting Tironui re Scholarships Papatoetoe Primary supporting instrumental programme25-Oct APO Wind Quintet perf Selwyn College interactive concert presentation25-Oct Greg APOPS mentoring ACG Parnell performance mentoring29-Oct Tom APOPS mentoring Pt Chevalier string ensemble mentoring31-Oct-11 31-Oct All Stars APO Ensemble visit Baradene College interactive concert presentation31-Oct Jade Quartet APOPS Ensemble visit Glenfield College interactive concert presentationNOVEMBER07-Nov-11 7-Nov Eric Rennick APOPS mentoring Westlake Girls High school orchestra mentoring14-Nov-11 15-Nov APOPS mentoring Anne Draffin Papatoetoe Primary instrumental programme support20-Nov Sing with the APO/Open Day TCP General Public21-Nov-1128-Nov-11DECEMBER05-Dec-11(end school year)