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

2018_ISCM - NEW ZEALAND SECTION 

 
 

Annual Report

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

    The Composers Association of New Zealand (or CANZ) is dedicated to the life of our music and composers. CANZ members are responsible for much of the most exciting and imaginative music created in this country, and CANZ is proud to celebrate this. We support our members’ creative pursuits in any way we can, we are a voice for New Zealand composers in any discussions that affect them, and we provide opportunities for professional development. These opportunities take a number of forms: those we run ourselves, those on which we collaborate with other New Zealand organisations, and those to which we provide access through our international networks.

    The CANZ Nelson Composers Workshop continues to be our flagship annual project. The 2018 workshop was convened by Glen Downie and Tristan Carter, and saw a return to the beautifully renovated Nelson School of Music – now the Nelson Centre of Musical Arts – with upgraded facilities and a much more temperate approach to climate control than in previous workshops.

    Nelson is not just an educational opportunity. With expert new-music performers like Erika Duke-Kirkpatrick from Cal Arts, to tango pūoro practitioners James Webster and Al Fraser, and current New Zealand School of Music Composer Resident Antonia Barnett-McIntosh, who performed her Text Piece with Simon Eastwood, the Nelson workshop provides stimulus for compositional thought and exploration for all those present.

    CANZ also presents two annual awards decided by a robust voting process within the Committee: the KBB Citation for Services to New Zealand Music, and the CANZ Trust Fund Award for outstanding compositional promise or achievement – or both! Former CANZ president Glenda Keam presented the 2018 Trust Fund Award to Lyell Cresswell in July at his home in Edinburgh, and new-music polymath Mark Menzies received the KBB Citation at a New Music Central Concert at the University of Canterbury. Reuben Jelleyman is the recipient of the 2019 CANZ Trust Fund Award, and the KBB Citation will go to the Audio Foundation.

    CANZ also contributes to, and collaborates on a number of professional development initiatives, particularly with our partners at SOUNZ, the Centre for New Zealand Music. These include the New Zealand Composer Sessions with the NZSO, the St Matthew’s Chamber Orchestra composer project, the Brass Band Association Composition Prize, and the NZCT National Chamber Music Contest composition prize, which went to Benjamin Sneyd-Utting for the second year in a row! Kayo Takamatsu won the junior section.

    SOUNZ also administers the SOUNZ Contemporary Award for contemporary-classical composition at the New Zealand branch of APRA’s annual Silver Scrolls presentation. In 2018, that award went to Michael Norris for Sygyt – a work for throat singer, ensemble and live electronics.

    These are views we put to those organisations at every opportunity. Our advocacy for composer interests is strong: there is frequent correspondence and regular meetings with the all of the professional orchestras, Chamber Music New Zealand, SOUNZ, and Creative New Zealand. I believe that all our efforts have a positive effect, and our persistence could lay foundations for a more prominent position for New Zealand composition through these platforms.

    It is hard work, however. The CANZ committee, currently comprising six members, meets twice a year to discuss these issues – in addition to our ongoing activities, which includes publications, maintaining an online presence, and professional development. We can provide a mouthpiece for all composer concerns, and we will ensure our members voices are heard.

 

 

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