ISCM

C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

2015_ISCM - NEW ZEALAND SECTION 

 
 

Annual Report

  • Year: 
    2015
  • Please describe your organization’s activities over the past year, including concerts, commissions, collaborations, publications: 

    The Composers Association of New Zealand (CANZ) continues to support, represent and provide professional and educational opportunities for composers in New Zealand. A voluntary committee of nine meets twice per year, and the organisation holds an Annual General Meeting in one of the main cities. Members of the committee together with other active members of the Association maintain the website, produce a bi-monthly electronic newsletter and a hard copy yearbook, hold an annual workshop for young and emerging composers, advocate for NZ music and composers where appropriate, and provide other occasional professional development opportunities. CANZ does not normally mount its own concerts, nor raise commissions for new work.

    A very significant event for us in 2015 was the passing of Jack Body on 10th May. In April 2014, CANZ had awarded an honorary membership to Jack in recognition of his enormous contributions to the organisation, to music in New Zealand, and in forging many musical relationships across the Asia-Pacific region. Jack’s compositional output was impressive, and he was extremely energetic in supporting the composing scenes in Wellington, and nationally. He was instrumental in the formation of our annual composers workshops, he was the driving force behind the three ACL festivals that have been held in New Zealand, and he has been responsible for many New Zealand and Asian compositions being published, performed and recorded. His commitment and dedication to the furthering of musical exchanges and interactions for the benefit of all involved has been remarkable, and has enriched our composing community beyond measure. We know that for a long time we will be conscious of a void in the space that Jack used to occupy.

    In February 2015, CANZ held its Annual General Meeting in at the School of Music in the University of Auckland. At the meeting, we announced that our annual prizes would be awarded later in the year. Subsequently, the CANZ/KBB Citation for Services to New Zealand Music was presented in May to the pianist Stephen De Pledge, for his commissioning, performances, and encouragement to many New Zealand composers. Later, in November 2015, the CANZ Trust Fund Award for compositional achievement was presented to Dorothy Ker, a New Zealander and long-standing member of CANZ who lives in the United Kingdom and works at the University of Sheffield.

    CANZ is the New Zealand member of two international organisations that provide annual international festivals and opportunities for performances of recent work. The ISCM 2015 World Music Days were held in Ljubljana, Slovenia, in September/October 2015, and included a performance of Sound Barrel by Christchurch composer Chris Cree Brown. At the General Assembly meetings attached to the ISCM festival, our First Delegate, Mary Binney, presented our developing plans to host the ISCM World New Music Days in Auckland and Christchurch in April 2020.

    The ACL festival in 2015 was held in November in Manila, and was attended by young composer representative Callum Blackmore, and NZ’s Chief Delegate Sarah Ballard – both of whom heard their work performed at the festival. Callum's piece Seraphic Lucidities, for bass clarinet, trumpet in C, percussion, violin, viola and cello and Sarah’s piece felsic mafic for chamber ensemble were performed by GRUPO 20/21 Modular Music Ensemble and conducted by Josefino Toldeo. Also at the festival were New Zealand composers Peter Willis, David Hamilton and Tiffany Wood, all of whom had works performed in the festival, and there was special mention of the passing of Jack Body at the ACL General Assembly. Honorary ACL member Mrs Irino proposed the publication of a special ACL Bulletin in 2016, in order to honour Jack Body and Prof. Ma Shui-long (two highly significant ACL members who passed away in 2015). She has asked ACL New Zealand and ACL Taiwan to edit these publications.

    In July of 2015, CANZ again held a four-day Composers Workshop in Nelson, an annual event since 1982. Organised by Alex Taylor and Chris Gendall, the workshop again brought together young and emerging composers with our more experienced composers and performers for workshop performances of new works, and provided a forum for discussions and exchanges between students, mentors, performers and observers.

    CANZ continues to work towards stronger relationships with some of the major performing ensembles and music organisations, advocating for performances and re-performances of New Zealand music, advising our members where necessary, and to be a voice for composers when residencies and professional development programmes are being devised. We also liaise closely with SOUNZ, the Centre for New Zealand Music, and our Arts council, Creative New Zealand. In mid-2015 SOUNZ appointed a new Executive Director, Diana Marsh, who is continuing to shape the organization and work towards the KPIs attached to the organisation’s recently expanded Creative NZ funding. There is good communication between CANZ and SOUNZ which augurs well for future collaborative and complementary activities.

    Each year the New Zealand branch of APRA (the Australasian Performing Right Association) holds an awards evening which includes the presentation of the SOUNZ Contemporary Award. This Award is for an excellent New Zealand work premiered in the previous year, and in September 2015 the award was presented to CANZ member (and former committee member) Chris Watson for his one-movement piano concerto 'sing songs self'.

    There are three formal and regular composer residencies in New Zealand, which normally each have a duration of one or two years. The composer-in-residence in Wellington is currently John Elmsly, who has recently retired after thirty years teaching composition at the University of Auckland. The University of Otago in Dunedin hosts our nation’s longest-standing composer residency, the Mozart Fellowship, which was established in 1969. In November 2015, Jeremy Mayall, a multimedia artist normally based in Hamilton, completed his two-year period as the Mozart Fellow, and the newly established Fellow is Chris Gendall, one of our committee members here today. The Composer-in-Residence for the Auckland Philharmonia Orchestra was, until the end of 2015, the composer and conductor Kenneth Young, and from the beginning of 2016 the orchestra’s resident composer will be Karlo Margetic, who less than a decade ago was the orchestra’s “Young composer in residence”. Karlo has been the recipient of many prizes, and his works will be included in a number of Asian festivals in Hong Kong and Japan in early 2016.

    We continue to celebrate the commitment to performing New Zealand music that we find amongst some very special performing ensembles including the NZTrio, Stroma, the Auckland Philharmonia Orchestra, the NZ Symphony Orchestra, the Christchurch Symphony Orchestra, Voices New Zealand, and the New Zealand Youth Choir. Chamber Music New Zealand also continues to include performances of new and familiar works by New Zealand composers, not only by New Zealand performers but also some visiting musicians. These performances, and the compositions they bring to life, sustain the healthy future of our musical communities.

 

 

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