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

2016_ISCM - NEW ZEALAND SECTION 

 
 

Annual Report

  • Year: 
    2016
  • Please describe your organization’s activities over the past year, including concerts, commissions, collaborations, publications: 

    The Composers Association of New Zealand (CANZ), established in 1974, exists 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 publications, 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.

    Our AGM was held in March 2016 in Christchurch, at the University of Canterbury. Also in March 2016, at the International Festival of the Arts in Wellington, we presented the CANZ Trust Fund Award for compositional achievement to Ross Harris, and the CANZ/KBB Citation for Services to New Zealand Music to the Wellington-based ensemble Stroma. Ross is one of New Zealand’s most celebrated composers. He writes music that we recognise as strong and skilful, often tackling themes of great historical and cultural relevance. His output includes over two hundred works, including collaborations with poet Vincent O’Sullivan for two remarkable operas, a symphony, three song cycles and a requiem. Ross has won many awards including a Queen’s Service Medal in in 1985, an Arts Laureate award in 2014, and the SOUNZ Contemporary Award more times than any other New Zealand composer. Established in 1999, STROMA has brought much new music to Wellington and beyond. The ensemble has commissioned and premiered over 40 works by New Zealand composers, and presented it alongside new music from leading international composers. We are grateful to KBB Music for continuing to support this award.

    CANZ is the New Zealand member of two international organisations that provide annual international festivals and opportunities for performances of recent work. The International Society of Contemporary Music’s (ISCM’s) most recent World Music Days were held in April, Tongyeong, Korea, a city that is well known to CANZ as it hosted the 2009 ACL Festival. The festival included a performance of New Zealander and CANZ member Neville Hall’s brass quintet The Sound a Gemmed Light. At the General Assembly meetings of the ISCM, having served on the ISCM’s Executive Committee since 2014, CANZ President Glenda Keam was honoured to be elected Vice-President of the ISCM, the first woman and first New Zealander to be elected to that position.

    Also during the ISCM General Assembly meetings our First Delegate, Mary Binney, restated our developing plans to host the ISCM World New Music Days in Auckland and Christchurch in April 2020. Also present was Amsterdam-based New Zealander Alison Isadora, who was representing the Netherlands at ISCM, but who is also a CANZ member, and is the current Creative NZ Jack C Richards Victoria University of Wellington Composer-in-Residence.

    The Asian Composers League festival in 2016 was held in October in two Vietnamese cities, and was attended by young composer representative Reuben Jelleyman, CANZ member Chris Adams, and NZ’s Chief Delegate (and CANZ committee member) Chris Gendall – all of whom heard their work performed at the festival. Chris Gendall was elected to the ACL Executive Committee, again strengthening our ties to the organisation. Feedback on the insights and new experiences gained by the participating composers suggests that we offer a great deal to our members as a result of our ongoing membership of the ACL. New Zealand has also suggested the possibility that part of the ISCM festival hosted in NZ in 2020 could incorporate the annual ACL festival; this proposal is being considered by the ACL.

    In July 2016, CANZ held its annual four-day Composers Workshop in Nelson. Organised by Chris Gendall and Simon Eastwood, 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. This workshop was particularly exciting as it attracted three very high-profile performers of contemporary music: violinist Mark Menzies (who has recently returned to NZ to take up the position of Head of Performance at the University of Canterbury), American flutist Eric Lamb and Australian clarinettist Richard Haynes are all renowned international performers of challenging contemporary repertoire, and the student works received exemplary performances.

    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.

    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, which is made for an excellent New Zealand work recently premiered. In September the 2016 award was presented to Wellington-based Salina Fisher, for her orchestral work Rainphase. At 22 years old, Salina was the youngest composer yet to receive the award, and her works have been performed both in NZ and internationally, including performances by the New Zealand Symphony Orchestra, Stroma New Music Ensemble and the Auckland Philharmonia Orchestra.

    There are three annual professional composer residencies in New Zealand, which normally each have a duration of one or two years. The Creative New Zealand / Jack C Richards Composer-in-Residence at the NZ School of Music in Wellington is currently Alison Isadora, who has returned from many years in the Netherlands to spend a year living in the house originally owned by Douglas Lilburn. The University of Otago in Dunedin hosts our nation’s longest-standing composer residency, the Mozart Fellowship, which was established in 1969. Chris Gendall, from Wellington, is the current Mozart Fellow. The Composer-in-Residence for the Auckland Philharmonia Orchestra is currently Karlo Margetic, who less than a decade ago was the orchestra’s “young composer-in-residence”, and this year’s APO ‘rising star’ young composer-in-residence is University of Auckland graduate Josiah Carr. Celeste Oram and Reuben Jelleyman are this year’s two composers-in-residence for the National Youth Orchestra.

    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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