Fact of the Day, Day, Day, Day, Day

20 Aug

The Auckland Philharmonia Orchestra is an organisation I’ve had plenty to do with since I was a teenager. They played my first orchestral compositions (now blessedly forgotten); they ran the New Zealand Secondary Schools Symphony Orchestra when I played double bass, their concerts introduced me to such key works as Mahler 3, Concierto de Aranjuez and the West Side Story Symphonic Dances; and that’s all before I’d left high school.

Now I’m an adult[citation needed], I’ve done damn near everything for the orchestra except play in it. Composing, arranging, MCing, pre-concert talks (like next week’s concert), video production, tutoring high school composers for APOPS, and I regularly present radio broadcasts of their concerts on Radio New Zealand Concert (e.g. in two weeks’ time).

Yesterday, I added “conducting” and “fronting for commercial radio” to my APO CV.

Fletch, Vaughan & Megan present the breakfast show on the Top 40 station ZM, and one of their regular segments is “Fact of the Day”. The three of them perform the musical intro sting live every morning:

Last week they pondered having it performed by an orchestra. Long story short:
- ZM is part of The Radio Network
- TRN’s parent company is APN
- APN publishes the New Zealand Herald
- The Herald is the naming rights sponsor of the APO’s 12-concert Premier Series
- TRN talked to APO Sponsorship
- APO Sponsorship talked to APO Artistic
- APO Artistic talked to me.

The Artistic Planning Manager might have been thinking of these vocal mockups from 2011. They were part of my proposal to write the piece that would become Relish in Immature Bombast:

This isn’t thaat far apart from what Fletch, Vaughan and Megan do every morning. A few more voices, a few more octaves, but just as out of tune!

I did two different arrangements: one straight as per their style, and a sad version “for serious facts”.

factofthedayscorep1factofthedayscorep2

(I actually worked on these arrangements while in the broadcast booth for Bach’s St John Passion.)

Then came the recording. The three ZM DJs, plus a cohort of videographers, soundies and social media folk, turned up to Philharmonia Hall in Mt Eden. They had their fun in and around the orchestra’s rehearsal space following the full orchestra’s James Bond rehearsal, while the Operations team, with their usual military precision, took exactly 15 minutes to clear the room of extraneous players and set up for an 18-piece string orchestra.

Then it was on me! I’m not a conductor by training or even by habit, but I did get to do these dozen bars as my professional orchestra conducting debut. Was a bit scary demonstrating musicality in front of full-time players who know me more as a composer and general loudmouth, but I got through it by summoning all of my conducting training (one semester with Dr Karen Grylls, nine years ago… I think I got an A- or B+).

It’ll be used for Fact of the Day on air tomorrow morning at about 8:20am, and it’s also in a video on zmonline.com! Click through to enjoy my conducting, Vanessa Carlton piano skills, and general social media fronting.

Freelancing. It’s a fun job.

Update: It’s in the morning show podcast, listen from 44:48)

Speaking of Vanessa Carlton, I uploaded this yesterday:

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Get out please Robbie, head overseas.

1 Aug

So, news.

Uniquely American objects.

Uniquely American objects.

I have a US green card. Well, I have a thing in my passport which entitles me to enter the USA within the next five months and hold permanent residency.

It was nearly two years ago I entered the Diversity Visa lottery on a whim, but my number came up (literally) and I went for it. It’s been a long process – from entering the lottery to entering the United States will be 26 months all up – but hardly an arduous or harrowing one. All in all, if you meet the criteria and are careful and conscientious with your paperwork, getting from the chance stage to the “heck yes I got me a green card” stage is straightforward*. My interview at the US Consulate had remarkably few questions for me to answer – just a two-hour wait while I read some Thomas Mann.

So I am moving in less than five months. Today I booked flights from Auckland to New Jersey to see my sister and my nephew (who is currently -6 weeks), and following that I will migrate westward to Chicago and settle there.

What a lovely view.

What a lovely view.

Why Chicago? In short, because the North Side of that city has the highest concentration of comedy, sketch and improv on the planet. Three of the best improv shows I’ve ever seen were during a short stay in Chicago last year. Also, thanks to the heritage of The Second City, there’s great respect for the role of music in comedy.

Furthermore, just this year there have been all sorts of venue expansions for the better:
- iO is relocating from two stages in Wrigleyville to their new four-stage home in Goose Island, with one theatre dedicated to a new sketch revue from TJ & Dave;
- The Annoyance has just moved from Uptown to Belmont;
- The Second City is expanding its premises in Old Town;
- and least of all, but most excitingly for me, Chicago now has possibly the world’s only theatre dedicated specifically to musical improv and musical comedy.

This image, on my own site, is 14th in my Google Images search results for "improv troupe stock photo".

This image, on my own site, is 14th in my Google Images search results for “improv troupe stock photo”.

However, there is a wider question: why improv? To compare to other things I’ve done and could pursue overseas, it’s not as stable as a job as a radio producer or presenter; it’s not as well-paying as composing (assuming you can attract commissions); and it’s a lot more niche than music recording and production.

But out of all those things within New Zealand, there are many composers, lots of broadcasters, and plenty of people who produce music, yet there are very few of us who do musical direction for comedy. There are even fewer who play music for improv. If I’m going to pursue something, it should be the thing that I am the most specialised in. The United States is a big place with potential careers that simply do not exist here in New Zealand, and you don’t just turn down a green card.

This is a daunting time – I’ve never moved countries before, I’ve never sold a large proportion of my worldly possessions, I’ve never calculated rent by the month, and figuring out the United States’ health insurance systems scares the crap out of me. Also, January is not exactly the warmest time to move to Chicago. Regardless, I am finally fulfilling every middle-class kiwi’s destiny by living overseas.

I will hold a massive farewell bash in Auckland on Saturday 13 December (also my 30th birthday), and departing New Zealand exactly two weeks later. In the meantime, you should give me lots of well-paid work, cause I’m freelance and I need the money.

This is happening!

– — –

* As long as, like me, you are an educated, healthy, white, middle class male native speaker of English with a sensible haircut, a clean criminal record and no visible piercings or tattoos, and are not a member of any organisation to the left of the Labour Party. It also made life administratively simpler that I am unmarried, have no children, and have never lived in a country other than New Zealand. And it helps I live only 35 minutes’ walk from the only US Consulate in this country. Your mileage may vary, but in most cases you have nothing to lose by applying. DV-2016 opens October 2014.

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Lots of work for one performance.

28 Jul

One grand cliché of being a composer is that it’s straighforward enough to get the first performance of a new work, but damn difficult to get the second. However, some of my favourite experiences have been writing songs that are very much intended never to be done again.

Andrew Grenon benefit posterLast night I MC’d a Wallace Arts Trust fundraiser concert for my flatmate, tenor Andrew Grenon. A lot of Andrew’s supporters know me as his piano partner in Politics The Opera, although it’s been a long time since we’ve made one of those videos. Life gets in the way, you see.

Andrew has a sense of humour and is a Song Sale writer-performer, so he asked me to sing my Root Vegetable Opera at his concert. That’s always huge fun, though when I perform it in the company of actual real opera singers I give a mountain of disclaimers about my vocal technique beforehand! Andrew also told me I was free to introduce the concert as I wished… maybe something musico-dramatic?

Two-and-a-half years ago I was fortunate enough to write the opening number for the Chapman Tripp Theatre Awards in Wellington – very much in the style of a Tony Awards opener. That’s a song that has so many specific references to Wellington theatre, film and current events circa 2011 that it will almost certainly never be performed again.

I did something similar for Andrew. The song has so many particular references – e.g. the setting of the concert, the night’s fellow performers, our Grey Lynn flat, his circumstances (heading to the Wales International Academy of Voice), and the country of Wales itself – that it will never be performed again. It’s a one-time bespoke job.

But you know what? Those jobs are bloody fun. You can go as specific as you like, and your song can be tailored exactly for the assembled audience and their context. I get a kick out of making comedy and art out of the timely, specific and the local. That’s no way for a work to appeal to a wide or enduring audience, but I’ve got other material for that. And given that one of my life’s ambitions is to write the opening number for the Tony Awards, I’ve got to take these opportunities to practise the rather niche craft of occasional songs.

I’ve uploaded the sheet music (hang piracy, I’m never going to sell this song for money) and chucked the video on YouTube. Massive thanks to the pianist Claire Caldwell for adding flair to my Sibelius copy-and-paste dots & chord symbols.

Good luck Andrew!

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Perfunctory blog post

23 Apr

Eketahuna German Literature Society coverPoint the first:

I’m now a published author. Given that I expended so much of the effort of publication late last year and well earlier this year, these launch events feel more like niche geeky parties than big culminations of work. I’m not good at writing about these things, but I spent A LOT of time consulting German poetry collections in the University of Auckland library.

You should buy a copy via instructions here – we will deliver to anywhere in the world. $20 if you buy one off me in person.

In a couple of months’ time, I will look back and realise, holy shit, I’m an actual proper published author. Not bad for a composer by training.

Point the second:

Augmented Fourth? Pledge Me? $400 short? 4 days to go? Get pledging. We’ll write you a song. We need us some wireless mics.

Point the third:

Oh god, there’s more? So much self-promotion going on. I should become a much better blogger and write about one thing at a time. About half of my franticisms can be traced back to the New Zealand International Comedy Festival. Go see shows. Most of all, go see ours in Auckland or Wellington. Especially Auckland. We’re driving like 10 minutes to the theatre and 10 minutes back. Not like those Wellington people who only have us doing a 16-hour drive.

Point the fourth:

Just friend me on Facebook or follow me on Twitter. Or keep up with the events in the sidebar, I’m quite good at updating those. But on this blog… I’m really not making it easy for you in this Web 2.0 age… wait… it’s not Web 2.0, that was like 2006. Man, I’m 8 years out of date.

Article the Fifth:

Ko tangata whenua te nope I can’t speak Treaty of Waitangi.

I should not publish this post.

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Give us all your money.

17 Mar

Please.

Sam Smith and Robbie Ellis are Augmented FourthSam Smith and I make up a musical comedy duo called Augmented Fourth. We’ve known each other literally half our lives, and through school, university, post-university, and real life we’ve performed together in all manner of musico-theatrico-comedico-debating events.

This is the biggest project we’ve ever undertaken together: a one-hour show in the New Zealand International Comedy Festival called Augmented Fourth.

Now, I could ask you simply to book tickets for either Auckland or Wellington, but we’re getting more creative than simply ticket sales… we’ve arrived three years late to the crowdfunding party.

Specifically we want money for headset mics. Buying, hiring, whichever, but the Festival quoted us $1200 for two mics for two weeks. Here’s our pitch video!

Head on over to our PledgeMe page which details the pledge rewards – tickets, custom-written songs, namedrops and even singing telegrams. We’d be grateful for any contribution you’d care to make.

Also, we have another video which we recorded with our old high school orchestra. Granted, we both played double bass and percussion in this orchestra, not trombone…

PHWAAAAAAAAMP
PHWAAAAAAAAMP
PHWAAAAAAAAMP

PHWAAAAAAAAAAAAAAMP

Also, see us in Song Sale next week. Monday 24 March on Ponsonby Rd.

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We’re on a radio show about the arts on Sunday

15 Feb

It’s taking me all my will power to avoid writing Arts on Sunday when referring to Radio New Zealand National’s rebranded programme Standing Room Only.

Oh, Lynn Freeman’s still presenting, Simon Morris is still producing, Justin Gregory is still doing his out-and-about reports, but they’ve got a new name for 2014.

Yesterday (Friday) Andrew Grenon and I were interviewed in a pre-record for The Laugh Track, a segment where ostensibly funny people get to select their favourite comedy. They’re going to play bits of our videos under the banner Politics The Opera. Here are those videos:

Our other-people music choices start with Victor Borge’s pastiche of Mozart opera, specifically the bit about tenor arias from 3:47:

Then Corwin Newall’s amazing a cappella number Bass, which I really should have asked to upload to SoundCloud or something… this was a product of Song Sale Dunedin.

Finally, Tim Minchin. Not one of his amazing wordy, wickedly funny numbers with impeccable logical constructions and syllogisms, rather a far less wordy and achingly expressive but less funny number still with impeccable logical constructions and syllogisms:

…but not this recording. The far more beautiful one from Tim Minchin vs the Sydney Symphony that was broadcast on ABC television, which isn’t up on YouTube. That recording has amazingly warm piano sound which balances with and cushions Minchin’s voice, as opposed to the above YouTube clip which pushes the voice way out front and centre, not letting his natural little adjustments to the piano texture leave room for his voice (which they do)… argh. Mixing is hard.

Speaking of mixing (and writing and recording and editing and mastering), I made this theme tune this week for this show:

Anyway, back on topic to me and Andrew, not Christine Brooks. Listen in live at 2pm tomorrow (Sunday)! I can’t, cause I’ll be working. Standing Room Only tends not to podcast the Laugh Track segment, so listening live is usually your only option. DO IT.

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Song Sale Auckland

13 Feb

Song Sale, which started in Wellington and which I brought to Dunedin, is starting in Auckland! Almost seems like we’re franchising this thing proper…

I’ve wanted to start Song Sale Auckland since I settled in the city of my birth in May last year. I’ve held off until now because I only entered Auckland’s stand-up comedy scene a couple of months ago. Now I feel I have the contacts to make it work…

So it’s taking place on Monday 24 February at One 2 One Cafe on Ponsonby Rd. (Facebook event here.) According to the poster below:

Not made by a professional graphic designer.

Not made by a professional graphic designer.

We have Augmented Fourth on MC duties. This is me (cause I’m used to hosting Song Sale), and Sam Smith (because I want us to have plenty of performing experience together before our Comedy Fest show in May).

Becky Crouch is a comedian I’ve never met in person, but many in the scene have told me she’d fit right in. Sam Polwart is a comic I’ve come across a good few times, sometimes working musical audience interaction into his sets. Louise Beuvink studied in Dunedin and finished just before I arrived in 2012… all through that year, fellow performers told me she would have been great in Song Sale Dunedin, had she been around. Well, she’s in the very first Song Sale Auckland. Hoorah!

Rounding out the team of songwriters are Penny Ashton (I’ve done music for four of her solo shows); Clare Kelso (like Penny, one of the creative directors of ConArtists); Swaren Veygal (producer/DJ, former Music Director of the University of Otago Capping Show, and Song Sale Dunedin veteran); Josh Clark (choir director/accompanist who is wickedly funny); and my flatmate Andrew Grenon, my flatmate and the tenor with whom I make Politics The Opera videos.

By the way, Andrew and I are getting interviewed for the Laugh Track on Standing Room Only this weekend – after the 2pm news, Sunday on Radio New Zealand National. Listen eh. They don’t tend to podcast that segment so I think listening live is your/our only option.

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Silly graphics

10 Jan

Actual work I’m doing:
- Being a real composer with three commissions on the go. All of them involve violin and/or piano.
- Preparing the comedy show Augmented Fourth with Sam Smith. An hour of musical comedy, in both Auckland and Wellington for the New Zealand International Comedy Festival.
- Editing and working up a book of poems from the Eketahuna German Literature Society.
- Writing songs for a musical theatre collaboration with Thomas Sainsbury.
- Tidying up other sheet music and recordings here and there.

Procrastination I’m doing:
- An anagram map of the Congestion Free Network.

I’ve been following the Auckland-focused transportblog.co.nz for a long time. Their collaboration with Generation Zero and the Campaign for Better Transport last year was a superbly clear vision for the future that reached a lot of people, and the maps made us reimagine our city. Aucklanders are starting to realise that efficient, modern public transport doesn’t just have to be for overseas cities, and one of the spin-off benefits is playing silly buggers with maps.

congestionfreenetwork

Anyway, here’s Anal Duck as you’ve never seen it before. Where possible, I tried to make the anagrams fit the place:
- Silverdale = Avid Resell (full of outlet shops)
- Devonport = Pot Vendor (lots of antiquey places)
- Britomart = Tram Orbit (well, once they extend the line from Wynyard Quarter…)
- Grafton = Fang Rot (there is a hospital there, and I presume dental surgeries too)
- Pt Chevalier = Vehicle Trap (down the end it is)
- Smales Farm = Rams’ Flames (that’s what happens when you hold laser light shows on a farm)
- Ellerslie = Seller Lie (I bought a car from the car fair there, it died 18 months later)
- Redvale = LED Rave (it’s near Snow Planet)
- Greenhithe = Neigh There (I can attest that there are plenty of horsey people in the area)
- Glen Eden = Glendene (they are adjacent suburbs after all)
- Ranui = A Ruin (stink for you)
- Mount Roskill = Tourism Knoll (a slight exaggeration of its purpose)
- Interchange Station = Sanctioning Theatre (I hope they do)
and my favourite:
- Waitakere Hospital = Weak Oral Hepatitis.

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Colin Craig Says Words – The Opera

17 Dec

Source: gaynz.com

Source: gaynz.com

My flatmate Andrew Grenon and I made a new video for Politics The Opera. It’s accidentally timely in regard to a particular BSA decision.

Dear world: sooner or later we’re going to come to you for a Pledge Me drive, so we can produce Politics The Opera videos all through next year (election year), and with higher production values.

Until then, we’re the ones giving you the presents. Enjoy.

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Robbie’s arbitrarily selective list of “new music” in 2014

15 Oct

newmusicAfter last year’s compiled list, I’m doing the same again this year. Four major classical music organisations that operate in Auckland have released their 2014 programmes: the Auckland Philharmonia Orchestra, Chamber Music New Zealand, the New Zealand Symphony Orchestra and New Zealand Opera (today at The Cloud).

I have gone through the programmes and picked out all the “new music” that’s in there in one easy-to-read list. Aren’t you fullas lucky?

In New Zealand Opera’s case, there is no “new music” to mention, but that’s not too surprising given there are only three productions next year. In the case of the other organisations, there’s a reasonable smattering. The APO has the most I’m looking forward to. CMNZ’s Kaleidoscope Series has some cool stuff, as will their Encompass Series (not announced yet, but pieces of mine are in there :-)). The NZSO’s brochure has this animal:

We don't care, we ain't caught up in your love of hair

That cat on Page 4 of the season brochure is weird. Just weird. And very out of context. I’ve heard it relates to a subsequent announcement from the NZSO though.

Onto the list! All dates are for Auckland unless otherwise specified. An asterisk * indicates a world première performance.

Added 22 October: Christchurch Symphony Orchestra.
Added 23 October:
New Zealand Festival

New Zealand “New Music” Composers’ Music

What I most want to see: Gao Ping is a rare creature in the modern world - a composer with the chops to perform his own piano concertos. His 四不相 (Si Buxiang, The Four Not-Alikes) looks like a concerto for piano and traditional Chinese orchestra.

What I most want to see: Gao Ping is a rare creature in the modern world – a composer with the chops to perform his own piano concertos. His 四不相 (Si Bu Xiang, The Four Not-Alike) looks like a concerto for piano and traditional Chinese orchestra.

*? Jack Body: Beat (among NZSQ, Forbidden City CO/Liu Shun, Gao Ping, Xiao Ma – 15 March)
Jack Body: Caravan (Nikki Chooi – 16 June)
Jack Body: Little Elegies (NZSO/Hamish McKeich – 2 May)
* Lyell Cresswell: The Clock Stops (Jonathan Lemalu, NZSO/James MacMillan – 10 May)
* Simon Eastwood/Natalie Hunt/Karlo Margetić/Tabea Squire: [new work from The Travelling Portmanteau] (NZSQ – 12 May)
Gareth Farr: Te Puna o Waiwhetu (CSO/Tom Woods – 22 February, Christchurch)
* Gareth Farr: [new piano concerto] (Tony Lee, NZSO/Pietari Inkinen – 28 March, Wellington only)
* Gao Ping: Si Bu Xiang (The Four Not-Alike) (Gao Ping, Forbidden City CO/Liu Shun – 15 March)
* Ross Harris: Aria for viola and string orchestra (Robert Ashworth, APO/Giordano Bellincampi – 5 June)
* Ross Harris: Requiem for the Fallen (Voices NZ Chamber Choir & NZSQ – 28 February, Wellington only)
Ross Harris: Te Moanapouri (CSO/Tom Woods – 17 May, Christchurch)
*? Dylan Lardelli: Secrets, Listening to the Qin (among NZSQ, Forbidden City CO/Liu Shun, Gao Ping, Xiao Ma – 15 March)
Douglas Lilburn: Aotearoa Overture (NYO/Ben Northey – 6-7 February, Wellington & Napier only)
* Michael Norris/David Downes: Wu Xing (Five Phases) (among NZSQ, Forbidden City CO/Liu Shun, Gao Ping, Xiao Ma – 15 March)
* Celeste Oram: macropsia (APO – 21 May)
John Psathas: Between Zero and One (Strike Percussion – 10 March, Wellington)
John Psathas: View from Olympus (Evelyn Glennie, Stephen De Pledge, APO/Hans Graf – 4 September)
* Anthony Ritchie: Symphony No 4 (Jenny Wollerman, CSO/Tom Woods – 22 February, Christchurch)
* Kenneth Young: [new work for brass] (Woolston Brass, CSO Brass/Kenneth Young – 20 September, Christchurch)
* Kenneth Young: [new work] (APO/Carlos Miguel Prieto – 16 October)
* [NYO Composer-in-Residence]: [new work] (NYO/Alexander Shelley – 19 July)

Living Foreign “New Music” Composers’ Music

What I most want to see: This Strayan fair dinkum muso Bretto Deano's concerto for trumpet...-o... yes. Only got premièred a couple of months back, and somehow I missed Håkan Hardenberger on his last visit here in 2007 (I think). Not gonna miss this one.

What I most want to see: This Strayan fair dinkum muso Bretto Deano‘s concerto for trumpet…-o… yes. Only got premièred a couple of months back, and somehow I missed Håkan Hardenberger on his last visit here in 2007 (I think). Not gonna miss this one.

Harrison Birtwistle: Oockooing Bird (Joanna MacGregor – 27 March)
John Corigliano: Violin Concerto, The Red Violin (Chloë Hanslip, APO/Eckehard Stier – 20 February)
Brett Dean: Eclipse (Doric SQ – 17-31 July, Dun/Ham/Nap/Wel/Chc only)
Brett Dean: Trumpet Concerto, Dramatis Personæ (Håkan Hardenberger, NZSO/Dmitri Slobodeniouk – 18 October)
*? Gao Weijie: Three Songs of Yuan Qu (among NZSQ, Forbidden City CO/Liu Shun, Gao Ping, Xiao Ma – 15 March)
Osvaldo Golijov: Ainadamar (Kelley O’Connor, Jessica Rivera, Jesus Montoya, Leanne Keneally, James Clayton, NZSO/Miguel Harth-Bedoya – 2 March, Wellington only)
Sofia Gubaidulina: ‘The Little Tit’, from Musical Toys (Joanna MacGregor – 27 March)
Sampo Haapamäki: Signature (CSO/Tom Woods, 24 & 25 May, Christchurch)
Matthew Hindson: Homage to Metallica (NYO/Ben Northey – 6-7 February, Wellington & Napier only)
György Kurtág: Six moments musicaux (Kelemen Quartet – 19 March)
James MacMillan: The Confession of Isobel Gowdie (NZSO/James MacMillan – 10 May)
James MacMillan: Woman of the Apocalypse (NZSO/James MacMillan – 10 May)
Torsten Rasch: Lycanthropy Aria, from The Duchess of Malfi (Tobias Cole, CSO/Tom Woods – 21 May, Christchurch)
Peter Sculthorpe: Memento mori (NZSO/Hamish McKeich – 2 May)
John Williams: Bassoon Concerto, The Five Sacred Trees (Ingrid Hagan, APO/Tito Muñoz – 1 May)
*? Zou Hang: Shi Bian Wu Hua (Ten Changes and Five Variables) (among NZSQ, Forbidden City CO/Liu Shun, Gao Ping, Xiao Ma – 15 March)

Dead Foreign “New Music” Composers’ Music

What I most want to see: this was tricky. Lutosławski's Concerto for Orchestra was a revelation when I played it in uni orchestra, Pacific 231 will be a mean-as concert opener... but ultimately it's Leoš Janáček's Sinfonietta which will kick the most ass live.

What I most want to see: this was the trickiest to pick just one. Lutosławski’s Concerto for Orchestra was a revelation when I played it in uni orchestra, Pacific 231 will be a mean-as concert opener… but ultimately it’s Leoš Janáček‘s Sinfonietta which will kick the most ass live. Part of the same trumpetlicious gig as the Brett Dean work.

Béla Bartók: Concerto for orchestra (CSO/Tom Woods – 18 October, Christchurch)
Béla Bartók: Sonata for two pianos and percussion (Diedre Irons, Michael Endres, Thomas Guldborg & Lenny Sakofsky – 1 September)
Béla Bartók: String Quartet No 4 (Kelemen Quartet – 9-18 March, Dun/Nsn/Wel/Nap/Ham only)
Béla Bartók: String Quartet No 5 (Kelemen Quartet – 19 March)
Alban Berg: Three Fragments from Wozzeck (Jenny Wollerman, APO/Eckehard Stier – 24 July)
Benjamin Britten: Noye’s Fludde (NZ Opera – during the New Zealand Festival, Wellington)
Benjamin Britten: Soirées musicales (after Rossini) (NZSO/Junichi Hirokami – 22 November)
George Gershwin: Preludes (Nikki Chooi & Stephen De Pledge – 9-24 June, NP/PNorth/Inv only)
Henryk Górecki: Symphony No 3, Symphony of Sorrowful Songs (Sara Macliver, NZSO/Hamish McKeich – 2 May)
Arthur Honegger: Pacific 231 (APO/Eckehard Stier – 27 February)
Leoš Janáček: Sinfonietta (NZSO/Dmitri Slobodeniouk – 18 October)
Erich Korngold: Much Ado About Nothing Suite (NZSO/Alexander Shelley – 25 July)
Erich Korngold: String Quartet No 2 (Doric SQ – 20 July)
Erich Korngold: Violin Concerto (Mikhail Ovrutsky, NZSO/Pietari Inkinen – 4 April)
György Ligeti: String Quartet No 1, Métamorphoses nocturnes (Kelemen Quartet – 9-18 March, Ham/Nap/Wlg/Nsn/Dun only)
Witold Lutosławski: Concerto for orchestra (APO/Tito Muñoz – 1 May)
Joseph Marx: [selected songs] (Christine Brewer, APO/Leo Hussain – 28 August)
Olivier Messiaen: L’Ascension: Quatre méditations symphoniques (CSO/Tom Woods – 23 August, Christchurch)
Olivier Messiaen: Oiseaux exotiques (Joanna MacGregor, APO/John Nelson – 27 March)
Nikolai Myaskovsky: String Quartet No 13 (Borodin Quartet – 22 October)
Francis Poulenc: Sinfonietta (APO/Paul Goodwin – 9 October)
Alfred Schnittke: Concerto for piano with string orchestra (Ragna Schirmer, APO/Eckehard Stier – 20 November)
Alfred Schnittke: Concerto Grosso No 2 for violin, cello and orchestra (Mark Menzies, Ashley Brown, CSO/Tom Woods – 14 June, Christchurch)
Dmitri Shostakovich: String Quartet No 1 (Aroha SQ – 13-25 October, Nsn/Inv/PNorth/NP/Ham only)
Dmitri Shostakovich: String Quartet No 11 (Borodin Quartet – 22 October)
Dmitri Shostakovich: Symphony No 5 (NZSO – 13 March, Wellington only)
Dmitri Shostakovich: Symphony No 12 (APO/Eckehard Stier – 20 November)
Dmitri Shostakovich: Symphony No 15 (NZSO/Alexander Lazarev – 24 May)
Igor Stravinsky: Petrushka [1947 version] (APO/Eckehard Stier – 20 February)
Igor Stravinsky: Petrushka (CSO/Tom Woods – 14 June, Christchurch)
Igor Stravinsky: The Soldier’s Tale Suite (APO/Eckehard Stier – 30 October)
William Walton: Henry V Suite (NZSO/Alexander Shelley – 25 July)
Anton Webern: Six Pieces for orchestra (APO/Giordano Bellincampi – 5 June)

Also:

The Adults meet the APO (Jon Toogood, Julia Deans, Shayne Carter, Steve Bremner, Ladi6, Anika Moa, APO/Hamish McKeich – 30 January)
Doctor Who Symphonic Spectacular (heaps of guests, choirs, NZSO – 21 & 22 February, Wellington only)
Serj Tankian’s Orca and Elect the Dead symphonies (CSO/Hamish McKeich – 29 March, Christchurch)
The Golden Age of Broadway (Tim Beveridge, Julia Booth, Juliet Reynolds-Midgley, Tainui Kuru, Christchurch Pops Choir, CSO/Luke Di Somma – 11-12 April, Christchurch & Timaru)
Traditional Chinese works (Aroha SQ – 13-25 October, Nsn/Inv/PNorth/NP/Ham only)
Settling the Score Live – an opportunity for you to nominate some “new music” (APO – 28 November)

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