BEETHOVEN! - Chamber Music New Zealand

BEETHOVEN! - Chamber Music New Zealand

Chamber Music New Zealand Presents







Message from the

Beethoven! Series sponsor

Fred Turnovsky, who arrived in New Zealand

in 1940, was a member of a small group

of refugees from Europe who infl uenced

immeasurably our cultural life. Having grown

up in Prague, one of the undisputed cultural

centres of Europe, he was struck by the fact

that professional music, which he had taken

for granted, did not appear to exist in his

adopted country.

With his drive and dedication he set about, in

a positive and practical way, to foster the Arts,

especially music. In collaboration with other

music enthusiasts he established what we call

today ‘Chamber Music New Zealand’ and was

a driving force in the early days of opera in

New Zealand.

He also established the Turnovsky Endowment

Trust which has, over a period of many years,

generously supported the Arts. Fred died in

1994 but his family, in wishing to fulfi l his vision

of a strong cultural environment, continues

to foster the Arts through the Turnovsky

Endowment Trust.

We hope you enjoy the performances by the

New Zealand String Quartet as much as he did.

Helen Philpott

Trustee, Turnovsky Endowment Trust

“And then there appeared on the

scene a young string quartet of

exceptional quality, the New Zealand

String Quartet, whose playing

captivated me from the fi rst hearing.

Our trust helped fi nd them a home

as quartet-in-residence at Victoria

University, and every time I hear

them I preen myself for having done

something useful in my fi fty years

of living in New Zealand.

And that brings me around in a full

circle. I started with chamber music,

and I fi nish with chamber music. In

the end, it is for me the crowning

glory of human creativity.”

Fred Turnovsky, from his autobiography

‘Turnovsky: fi fty years in New Zealand

Message from the

tour sponsor

The Lion Foundation is delighted to be in

a position to once again support Chamber

Music New Zealand. As one of the Country’s

leading Charitable Trusts, our broad based

approach has helped to enable Kiwis from

all walks of life to achieve great things within

their respective communities and sectors;

Chamber Music New Zealand is no exception.

We look forward to hearing the feedback

from the many who will come to enjoy this

programme. The Lion Foundation has been

supporting the Arts for over quarter of a

century alongside its funding of Sport, Health

and Education and as the broadest ranging

enabler of Community activity we support

hundreds of thousands of Kiwis every day.

Encore, CMNZ's Supporter

Programme, provides many

ways of gifting your support

to ensure the continued

vitality of chamber music

in New Zealand. We thank

all contributors for their

generous support.

For more information about Encore, visit

Kaleidoscopes 2012



It is a great pleasure to follow

our popular tour by the iconic

international ensemble I Musici

with concerts by our own icon,

the New Zealand String Quartet.

Chamber Music New Zealand is the

proud parent of the Quartet, and

like all parents we are delighted

with their national and international

success now that they are an

independent organisation.

When we started the group, there

were no full-time chamber music

groups in New Zealand, and it took

the dedicated eff orts of many musiclovers

to make it happen. Thanks to

those people, we can now celebrate

the New Zealand String Quartet’s

25th birthday by sharing this

‘revolutionary’ concert with you.

Beethoven has been in the Quartet’s

repertoire right from the beginning

– their fi rst public programme

© Robert Catto | | All rights reserved

included Opus 59 No 2 – and many

of us still recall with admiration

their performances of the complete

Beethoven cycle in 2000-2001.

We are delighted that tonight’s

concert is part of the Quartet’s 2012

Beethoven! series. The fi rst two were

presented as part of the 2012 New

Zealand International Arts Festival

and we hope that you can also enjoy

The Late Quartets later this year.

Professional musicians need

professional support. The Lion

Foundation is one of this country’s

leading community funders, and

we truly appreciate their generous

on-going support for the chamber

music community. It is particularly

poignant to also partner with the

Beethoven series sponsor Turnovsky

Foundation for this tour, as Fred

Turnovsky was such a driving force

behind both Chamber Music New

Zealand and the establishment

of the Quartet.

I’m sure you will all join me in

wishing the New Zealand String

Quartet a very happy birthday on

the 1st of October!

Euan Murdoch

Chief Executive,

Chamber Music New Zealand

Programme One

Beethoven String Quartet Opus 59 No 1 page 7


Beethoven String Quartet Opus 59 No 2 page 8



Programme Two

Beethoven String Quartet Opus 74 ‘Harp’ page 9

Beethoven String Quartet Opus 95 ‘Quartetto Serioso’ page 10


Beethoven String Quartet Opus 59 No 3 page 11



* In association with

Southland Festival

of the Arts

‡ concerts presented by

regional music societies

The Auckland and Wellington

concerts will be recorded for

broadcast by Radio NZ Concert

Please respect the music, the musicians, and your fellow audience members, by switching off all

cellphones, pagers and watches. Taking photographs, or sound or video recordings during the

concert is strictly prohibited unless with the prior approval of Chamber Music New Zealand.

New Zealand String Quartet


Kaleidoscopes 2012


Helene Pohl – violin

Douglas Beilman – violin

Gillian Ansell – viola

Rolf Gjelsten – cello

Principal Sponsor:

New Zealand

String Quartet

The New Zealand String Quartet is

the foremost chamber ensemble

in this country, and the mosttravelled

classical group. Formed

by Chamber Music New Zealand in

1987, the Quartet regularly visits

both large and small centres in

New Zealand, and also performs

internationally each year. The group

has just returned from performing

in a New Zealand mini-festival at

the Kings Place in London, and

performing at the opening of

New Zealand’s year as Country of

Honour at the Frankfurt Book Fair.

Members of the New Zealand

String Quartet play a pivotal role

in the Adam Chamber Music

Festival in Nelson. As teachers,

they also conduct the annual Adam

Summer School for young chamber

musicians, and are Quartet-in-

Residence at the New Zealand

School of Music in Wellington.

The Quartet’s extensive list of CDs

includes a recently-released disc

of New Zealand quartets by John

Psathas, Jack Body, Ross Harris,

Gareth Farr and Michael Norris,

‘Notes from a Journey’, which won

the Best Classical Album at the

2011 NZ Music Awards.

In 2012, the New Zealand String

Quartet is celebrating its 25th

anniversary by presenting the

complete cycle of Beethoven’s

sixteen String Quartets in

partnership with the New Zealand

International Arts Festival and

Chamber Music New Zealand.

Their performances of the early

‘Age of Enlightenment’ quartets

are webcast on,

and the Late Quartets will be

toured in August and September.

“[Fred] was a wonderful

mentor. He had been so

long in that world, and had

a wealth of life experience

…. And he saw the value

of having a string quartet

teaching and being mentors

for young players. It was a

presence in the country to

get other things going -

that was part of his vision.”

Wilma Smith recalling Fred Turnovsky’s

role in her early days as leader of the

New Zealand String Quartet, from

‘Staying in Tune: Chamber Music

New Zealand at 60’ by Jane Dawson

New Zealand String Quartet


Kaleidoscopes 2012


Ludwig van Beethoven

Baptised Bonn, 17 December 1770 | Died Vienna, 26 March 1827

In 1787 a sixteen year old pianist

named Ludwig van Beethoven,

who had also begun to compose,

travelled from Bonn to Vienna,

to seek instruction from Mozart.

The death of his mother forced

him to return only a fortnight

later to become the family’s chief

breadwinner, after his alcoholic

father suff ered a complete

breakdown. In 1792 Haydn passed

through Bonn and admired some

of Beethoven’s compositions, and

later that year Beethoven left Bonn

to study with Haydn in Vienna. His

expenses were paid by the Elector

of Cologne on the understanding

that he would shortly return but in

fact he never went home.

In Vienna, Beethoven established

himself as a virtuoso pianist, fi lling

some of the void left by the death

of Mozart. He gave recitals, toured

extensively, and was celebrated for

his heroic improvisations. In 1795

he published his fi rst piano trios,

and the following year three piano

sonatas dedicated to Haydn. In

April 1801 his First Symphony was

premièred, and the same year saw

the publication of Beethoven’s fi rst

six string quartets Opus 18.

Beethoven’s second decade in

Vienna was dominated by the

realisation that he was losing his

hearing, and although he continued

to perform in public, his music was

inevitably coloured by suff ering,

and later calm resignation. Yet

between 1801 and 1815 he produced

some of his most heroic works, and

enjoyed fi nancial as well as artistic

success thanks to supporters such

as Archduke Rudolph, dedicatee

of the ‘Archduke’ Trio, and Count

Rasumovsky, who commissioned

the Opus 59 quartets in 1805.

By 1820 Beethoven was completely

deaf, and although regarded as the

greatest composer in Vienna, he

was seen as eccentric, even mad.

Nevertheless, it was during the

fi nal years of his life that some of

his most substantial and deeply

felt works emerged. His last works

were all string quartets, composed

between 1822 and 1826. Beethoven

died a year later and his funeral

procession through Vienna’s streets

was reputedly watched by ten

thousand people.

Programme notes by

Susannah Lees-Jeff eries, adapted

from Chamber Music New Zealand fi les

String Quartet in F Opus 59 No 1


Allegretto vivace e sempre scherzando

Adagio molto e mesto - attacca:

Thème russe. Allegro

Count Andreas Kirillovich Rasumovsky

(1752-1836) was the Russian ambassador

to Vienna and the brother-in-law of Prince

Lichnowsky, the dedicatee of Beethoven’s

Opus 1 piano trios. An art collector and

music lover, Count Rasumovsky supported a

permanent string quartet, formed to perform

the three quartets that he commissioned from

Beethoven, from 1808 to 1816. Described as

an “enemy of the Revolution but good friend

of the fair sex”, Rasumovsky was one of

Beethoven’s most signifi cant patrons.

As the opening phrase soars into being it

is clear that this is quartet writing on an

unprecedented scale, both in the length

and construction of the movements (all four

movements are in full sonata form) and in the

symphonic spaciousness of Beethoven’s vision.

The Allegro [lively] is typical of Beethoven’s

increasingly mature style, coupling rhythmic

drive with a slow rate of harmonic change.

Rather than the short, incisive fi gures of

earlier works, the melodies are fl owing

and continuous, yet are easily divisible into

smaller motifs. In a departure from classical

sonata form the exposition is not repeated,

and the climax of the whole movement occurs

in the coda, as the fi rst theme rings out over

rich harmonies.

A rhythmic fi gure forms the fi rst subject of

the Allegretto vivace e sempre scherzando

[lively and always playful], but it is the

more lyrical second subject which begins

the recapitulation before ending with one

of Beethoven’s favourite juxtapositions of

pianissimo and fortissimo.

The Adagio molto e mesto [very slow

and sorrowful] provides a stark contrast.

Remarkable for its eff ective use of pizzicato,

and redolent with deeply felt emotion, the

early sketches bear the inscription “A weeping

willow or acacia over my brother’s grave”. The

tragic mood is gradually dispelled as a fl orid

violin passage over a sustained dominant

seventh leads directly into the fi nale.

The Allegro is all brilliance and energy,

featuring a Russian folk song [Thème russe]

in which a soldier laments the hardships of

military life. By an unusual use of extended

trills at the end of the exposition and during

the development, Beethoven links the fi nale to

the violin transition from the third movement.

The coda contains some lively fugal writing

before the folk song returns at a more

mournful tempo, only to be swept aside

by a galloping conclusion.

New Zealand String Quartet


Kaleidoscopes 2012


String Quartet in E minor Opus 59 No 2


Molto adagio. Si tratta questo pezzo con molto di sentimento


Finale. Presto

The second of the Opus 59 Quartets was

composed over an intensive period, probably

between April and November 1806. As is

often the case with Beethoven, it could not

be more diff erent than the work preceding it.

Apart from the extraordinary slow movement,

it is more terse, darker and more highly

strung than the fi rst ‘Rasumovsky’ quartet,

full of a restless searching energy.

The main theme in the Allegro is triadic

and to the point, and in the exposition it

is the silences, rather than the notes, that

give the music its strength. The emphatic

opening chords coupled with highly eff ective

pauses create an atmosphere of mystery and

suspense that persists throughout. Unlike

the continuous fl owing melodies of Opus 59

No 1, the Allegro is mercurial in its moods,

with labyrinthine fi guration and dramatic

syncopations. Like the Fifth Symphony, the

recapitulation is in the major, leaving the

coda to re-establish the original tonality.

The E major Molto adagio [very slow] is

one of Beethoven’s most remarkable slow

movements, with the instruction to “play

this with much feeling”. His pupil Carl

Czerny claimed that he had been inspired

by “the starry sky and the movement of the

spheres”. While Beethoven typically shunned

extramusical stimuli, the profound serenity of

the music does not make this allusion seem

far-fetched. A chorale-like melody opens the

movement, with staggered entries giving an

ethereal quality. Although it is in sonata form,

the transitions between sections are treated

so unobtrusively as to be barely perceptible.

Throughout, the melodies are almost

continuously accompanied by persistent

rhythmic fi gures, like hushed heartbeats,

so, when at the climax of the movement the

main theme sings out accompanied only by

striking new harmonies, the eff ect is fresh

and startling.

The Allegretto is an unsteady and somewhat

ponderous dance, with an unsettling

transition from E minor to D major at the

end of the fi rst section. In the Trio Beethoven

introduces a solemn Russian hymn, treated

somewhat irreverently as a brisk fugue.

The Presto [very fast] last movement is a

vigorous tussle between confl icting keys.

It is given direction by a neatly pointed

quaver/crotchet rhythm, ever-present in

the accompaniment and rarely swamped by

passages of strenuous counterpoint. This

gives the Finale a smart, almost military

fl avour, although the ending is restless

and indecisive until the main theme fi nally

appears in the tonic.

String Quartet in E fl at Opus 74 ‘Harp’

Poco adagio - Allegro

Adagio ma non troppo

Presto - attacca:

Allegretto con variazioni

May 1809 saw the French bombard and

occupy Vienna. Unlike his aristocratic

friends, Beethoven could not leave the city,

communication was well-nigh impossible,

and he was unable to take the country walks

that inspired him. A letter to his publishers on

26 July summed up his mood:

“Let me tell you that since May 4th I have

produced very little coherent work, at most

a fragment here and there. The whole course

of events has in my case aff ected both body

and soul... What a destructive, disorderly

life I see and hear around me: nothing but

drums, cannons, and human misery in every


The ‘Harp’ Quartet was one of only a few

large-scale works, along with the Piano

Sonata Opus 81a and the ‘Emperor’ Concerto,

that Beethoven completed in 1809. Dedicated

to Prince Lobkowitz, it was published in 1810.

Opening mysteriously in A fl at, the Poco

adagio [somewhat slow] introduces a tonal

plan for the whole quartet, encompassing

E fl at, A fl at, C minor and C major. The

ensuing Allegro is bluntly cheerful, with

a simple theme enlivened by a viola

countermelody and the pizzicati which

give rise to the work’s nickname. The coda

contains a stunningly beautiful passage

for the second violin and viola in canon,

heralding the climactic return of the main


The Adagio ma non troppo [slow but not

too slow] is a spacious rondo in A fl at.

The lyrical theme appears three times:

fl oating above sustained chords; lavishly

ornamented over accompanying triplets;

and on the lowest string, woven through a

hazy accompaniment. The fi rst contrasting

episode moves seamlessly through a wide

range of keys, while the second introduces

a new violin melody, intertwined with a

cello solo.

Persistent rhythms in the Presto [quickly]

recall the Fifth Symphony, but after a

vehemently loud opening the mood is

subdued. The C major Trio in the centre

has no such reservations, consisting of

an aggressively intricate fugue.

Immediately following on, the six variations

of the fi nal movement are diverse in nature.

The fi rst, third and fi fth are lively but not

particularly deep, while the second and

fourth allow the viola and violin a chance

to shine. The sixth makes use of a shifting

E fl at/D fl at pedal in the cello before a coda

featuring short variations on a truncated

version of the theme.

New Zealand String Quartet


Kaleidoscopes 2012


String Quartet in F minor Opus 95 ‘Quartetto serioso’

Allegro con brio

Allegretto ma non troppo - attacca:

Allegro assai vivace ma serioso

Larghetto espressivo - Allegretto agitato

Following the rejection of his marriage

proposal by the much younger Therese

Malfatti, to whom he had given the autograph

score of Für Elise, Beethoven spent the

summer of 1810 in Baden, a resort outside

Vienna. While there he worked on the String

Quartet Opus 95 and the ‘Archduke’ Trio

Opus 97, the only signifi cant compositions

begun that year. The autograph score of

Opus 95 is dated October 1810, but recent

studies suggest that it was revised extensively

in 1814, before its fi rst performance. It is

dedicated to its copyist, Nikolaus Zmeskall

von Domanovecz (1759 - 1833), a civil servant,

amateur cellist and one of Beethoven’s most

loyal friends.

The title ‘serioso’ (Beethoven’s own) refers to

the quartet’s ‘learned’ style. He was curiously

reticent about promoting it, and in 1816, the

year of its publication, wrote to Sir George

Smart in London: “NB. The Quartet is written

for a small circle of connoisseurs and is never

to be performed in public”.

The Allegro con brio [lively and spirited] fi rst

movement is remarkable for its economy.

The brief fi rst theme introduces a distinctive

semiquaver fi gure, while the second is lyrical

and fl owing, underpinned by very simple

harmonies. Gruff scales in remote keys are

used as bridge passages throughout. The

recapitulation cuts the fi rst theme short and

focuses on the lyrical second subject, ending

with a dramatic interrupted cadence and a

vigorous coda.

The Allegretto ma non troppo [lively but not

too much so] continues the subdued mood

with a restrained cello solo, leading to a

beautifully sensitive theme. After the terse

fi rst movement, the Allegretto is spaciously

constructed in a broad arch around a central

fugal section, which contains a restful interlude

based on the opening solo. Following a wistful

cadence, a bare octave D and a diminished

seventh lead straight into the scherzo.

The Allegro assai vivace ma serioso [very

lively but serious] is a fi erce dance with

two motifs: a three note fi gure and a scale

passage. The Trio is a complete contrast,

with a cantabile melody, accompanied by

continuous quavers, moving fl uidly through

a series of remote keys.

After a mysterious Larghetto espressivo [slow

and expressive] introduction, the Allegretto

agitato [somewhat lively and agitated] is

a well-proportioned sonata rondo, based

around a lightly scored, rhythmic theme. Not

a second is wasted in its relentless motion

towards an ending in F major, thwarted at the

last moment by a brilliantly airy coda.

String Quartet in C Opus 59 No 3

Introduzione. Andante con moto - Allegro vivace

Andante con moto quasi allegretto

Menuetto. Grazioso - attacca:

Allegro molto

In the summer of 1806, Beethoven threw

himself into composing a series of great

instrumental works, including the Fourth

Symphony, the ‘Appassionata’ Sonata and

the three Rasumovsky Quartets. After a

long struggle with his opera Leonore he was

in an optimistic mood and ready for fresh

challenges. Above his sketches for Opus 59

No 3 is written: “Just as you plunge yourself

here into the whirlpool of society, so in spite

of all social obstacles it is possible for you to

write opera. Your deafness shall be a secret

no more, even where Art is involved!”.

After an atmospheric introduction of slowly

shifting chromatic harmonies, the lively

Allegro vivace [lively and spirited] has the

impact of a fresh gust of wind. Full of vigorous

passage work, fugato entries, and extended

trills, the lengthy exposition leads to a short

but eventful development section.

The gently elegiac Andante con moto [at a

fl owing pace] in A minor is one of Beethoven’s

most haunting slow movements. While the

theme is original, the violin harmonies,

coupled with pizzicato pedal points, create a

Slavonic mood. It was in the slow movements

of Opus 59 Nos 1 and 3 that Beethoven

fi rst realised the emotional possibilities of

pizzicato, and the carefully shaded cello line

has a hypnotic eff ect.

The opening of the Menuetto [minuet] harks

back to the 18th century in its graceful

symmetry, but the rapid fi guration and

carefree passing of the melody from voice to

voice makes it clear that this is not a run-ofthe-mill

dance movement. Also, unlike the

classical minuet, cadences frequently fall on

the third beat of the bar, giving a charmingly

breathless quality. An unexpected coda in

a minor key adds a note of mystery, before

plunging headlong into the fi nale.

The Allegro molto is one of Beethoven’s

most irresistable fi nales. Written in the

moto perpetuo style, the motion is not just

perpetual, but at times precipitous. Using

a typical combination of rapid rhythm and

slow harmony, the theme is so long that it

only allows for two complete statements:

at the beginning, and at the start of the

recapitulation, which is further enlivened

by a countersubject. A dramatic pause leads

to a teasingly extended coda, before rushing

to its inevitable conclusion.

New Zealand String Quartet


Kaleidoscopes 2012


Beethoven’s String Quartets

in Context

by Dr Nancy November

Beethoven’s seventeen string quartets

are now considered as cornerstones of

chamber music, indeed of Western classical

music altogether. For early listeners and

performers, though, these strikingly novel,

avant-garde works presented considerable

challenges. The fi ve late quartets, in

particular, were castigated as the musical

ravings of a deaf madman, before being

hailed as the purest and most profound

utterances of a genius. These works both

refl ected the changing times and were

themselves instruments of change. At fi rst

they were mainly performed in private

settings, but they also heralded the new

‘public’ life of chamber music. The Beethoven

quartets were championed and premiered

by the fi rst professional string quartet, led

by Beethoven’s close acquaintance Ignaz


Bold innovations appear straight away, in

the fi rst six string quartets that make up

Opus 18 (1798-1800). These works do not fi t

neatly with received ideas of Beethoven’s socalled

‘fi rst period’ (1782-c.1802), when he

supposedly continued the traditions set by

Mozart and Haydn. In the String Quartet in A

major, Opus 18 No 5, for example, the slow

movement bears resemblances to Mozart’s

slow movement in his ‘Haydn’ String Quartet

in A major, K. 464. Yet as early as the fi rst

variation, Beethoven introduces a cheeky spin

on contrapuntal working (a hallmark of the

traditional string quartet), fl aunting the fi rst

violin’s high register and underlining how far

he had moved from his forebears in terms

of movement models and style. The cryptic

tonal labyrinths at the beginning of the fi nale

in Opus 18 No 6 (‘La Malinconia’) attest to his

bold challenging of conventions—challenges

that were all the more daring given the

elevated status of the string quartet.

The fi ve ‘middle-’ or ‘second-period’ quartets,

completed in 1806 (Opus 59), 1809 (Opus

74), and 1810 (Opus 95), are newly ‘public’ in

terms of intended venue and style, including

intense dramatic contrasts, new textures,

virtuoso passages for all players, and works of

unprecedented length. The expansiveness and

exuberant dramatics of these works fi t with

Beethoven’s emphasis on the large-scale and

theatrical works at this time: one thinks of the

Third to Sixth Symphonies, the Fourth and Fifth

Piano Concertos, Egmont, Fidelio. The advent

of Schuppanzigh’s chamber music concert

series in 1805-6 was very likely an inspiration,

a prompt to reach out to his public with

musical gestures ‘writ large’. Yet there are also

moments of striking intimacy and poignancy.

In a sketch note to Opus 59 No 3, Beethoven

wrote to himself: ‘Just as you fall here into the

whirlpool of society, so it is possible to write

works despite all societal hindrances—Your

deafness can no longer be a secret—also

in art’. The haunting D-fl at cantabile within

the slow movement of Opus 59 No 1 is

one place where, amid all the ‘publicity’,

the melancholy voice of the almost-deaf

composer might be heard.

With Opus 74 and Opus 95 Beethoven had

broken from the tradition of composing in

sets of three or six, and would now publish

his quartets as single opus works. The works

themselves now became highly individualised

and idiosyncratic, especially the fi ve ‘late’

quartets composed 1824-26. Following on the

heels of works such as the Ninth Symphony

and the Missa solemnis, they encapsulate

this period of radical innovation, eccentricity,

and paradox. The late quartets encompass

oppositional elements such as massivity

vs miniaturisation and songfulness vs

highly ‘instrumental’ writing: compare the

beautifully lyrical Cavatina with the jagged

contours of the ‘Große Fuge’ (Great Fugue’),

adjoining movements in the Opus 130 Quartet.

Reprinted courtesy of the

New Zealand String Quartet Trust

“For the young performer, it

often feels like one needs to inhale

incredibly deeply, gathering a reserve

of oxygen for more than just the

additional pyrotechnics. The wonder

of Beethoven’s voice, its sheer ability

to speak of many sentiments and its

sudden juxtaposition of opposites

becomes more and more pronounced.

Arriving at the rollicking good fun of

the last movement of Opus 59 No 3

seems a true reward indeed.”

Douglas Beilman– a performer’s view of

Beethoven’s middle period quartets

New Zealand String Quartet


Kaleidoscopes 2012


Timeline of events


Church founded

Haydn born

Handel’s Messiah performed in Dublin

Celsius invents temperature scale

excavation of

JS Bach dies











Pompeii begins

British take

over colony

of Quebec

Vivaldi dies

Bering discovers Alaska

Boston Tea Party

Beaumarchais produces

American Declaration










fi rst potatoes

grown in Bay

of Islands

Beethoven born

Captain Cook sails

through Cook Strait

de Surville lands

at Doubless Bay,

kidnaps Ranginui

revolt against British rule

Louis XVI crowned King of France

The Barber of Seville

Electric battery invented

of Independence



Jenner develops a

successful smallpox vaccine

Mozart dies

Sealers and whalers begin

working in New Zealand

French Revolution

Washington becomes

fi rst President of USA


constitution drafted

gas fi res patented

in France

Napoleon forces

Austria to make peace

Uranus discovered by Herschel

rst public railway

opens in London




1806 rst

1803 fi

crowns himself

Emperor in Paris



arrive in NZ




Rev Samuel Marsden conducts fi

Argentina declares independence from Spain




1819 es

34 chiefs sign the Declaration

Queen Victoria crowned in Britain

Daguerre takes fi











Brothers Grimm publish their

fi rst volume of fairy tales

Napoleon’s army defeated in Russia

Luddite riots against

mechanised weaving looms

Mendelssohn born

Haydn dies

rst Christian service in NZ

Macadam develops macadamised roads in Scotland



Goethe dies

Morse invents electric telegraph

sewing machine

patented in France

Beethoven dies

D’Urville begins charting

New Zealand coastline

Egyptian hieroglyphs

deciphered by Champollion

British Factory Act regulates child labour

of Independence in NZ

rst photos

Treaty of Waitangi signed

fi rst adhesive postage stamps

issued in Britain

‘Opium Wars’ begin in China

New Zealand String Quartet


Kaleidoscopes 2012



Chair, Peter Diessl, June Cliff ord CNZM, Paul Baines,

Michelle van Gaalen, Roger King, Helen Philpott,

Gretchen La Roche, Lloyd Williams.


Chief Executive, Euan Murdoch

Audience Development Manager, Victoria Dadd

Marketing & Communications Assistant, Candice de Villiers

Ticketing & Database Co-ordinator, Laurel Bruce

Design & Print, Chris McDonald

Publicist, Sally Woodfi eld

Business Manager, Jenni Hall

Operations Co-ordinator, Jessica Lightfoot

Offi ce Administrator/Programme Co-ordinator (Contest), Sue Jane

Artist Development Manager, Anna Sedcole

Programme Co-ordinator (Contest), Pip Want (on leave)

Programme Writer, Jane Dawson


Auckland: Chair, Victoria Silwood;

Concert Manager, Ros Giff ney

Hamilton: Chair, Murray Hunt;

Concert Manager, Gaye Duffi ll

New Plymouth: Chair, Joan Gaines;

Concert Manager, Susan Case

Hawkes Bay: Chair, June Cliff ord;

Concert Manager, Liff y Roberts

Manawatu: Chair, Graham Parsons;

Concert Manager, Karen Carter


Concert Manager, Jessica Lightfoot;

Nelson: Chair, Henrietta Hannah;

Concert Manager, Clare Monti

Christchurch: Chair, Colin McLachlan;

Concert Manager, Jody Keehan

Dunedin: Chair, Terence Dennis;

Concert Manager, Richard Dingwall

Southland: Chair, Shona Thomson;

Concert Manager, Jennifer Sinclair

Regional Presenters

Blenheim, Cromwell, Gisborne, Gore, Hutt Valley,

Kaitaia, Morrinsville, Motueka, Rotorua, Taihape, Tauranga,

Te Awamutu, Tokoroa, Upper Hutt, Waikanae, Waimakariri,

Waipukurau, Wanaka, Wanganui, Warkworth, Wellington,

Whakatane and Whangarei.

Regional Concerts

& Other Events

Akoka Quartet

Rotorua, 20 April

Wellington, 22 April

Blenheim, 27 April

Warkworth, 28 April

Tauranga, 29 April

Jian Liu (piano)

Cromwell, 4 May

Wanaka, 5 May

Gore, 7 May

Motueka, 10 May

Blenheim, 11 May

Whanganui, 16 May

Putaruru, 20 May

Rotorua, 21 May

Gisborne, 23 May

Level 4, 75 Ghuznee Street

PO Box 6238, Wellington

Tel (04) 384 6133

Fax (04) 384 3773


For all Concerts Managers

phone 0800 CONCERT (266 2378)

A Special Thank You

to all our Supporters


Chamber Music New Zealand acknowledges

all donations and support at branch level:

Auckland: THE EDGE

New Plymouth: TSB Community Trust

Hawkes Bay: Eastern & Central Community Trust

Manawatu: Eastern & Central Community Trust

Wellington: Positively Wellington Venues

Dunedin: Dunedin City Council



Southland: Community Trust of Southland;

Invercargill Licensing Trust

Coff ee supplier: Karajoz Coff ee Company

Chocolatier: de Spa Chocolatier

Floral Supplier: Global Living

© Chamber Music New Zealand 2012

No part of this programme may be reproduced without the prior permission of Chamber Music New Zealand.

0800 CONCERT (266 2378)

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