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

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

F0 note (21.83 Hz) — vibrating on liquid surface

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A0 note (27.50 Hz) — vibrating on liquid surface



Annual Report

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

    Report to ISCM on the activities of the Composers Association of New Zealand in 2014
    prepared by Glenda Keam (President, CANZ)

    The Composers Association of New Zealand (CANZ) continues to support, represent and provide professional development opportunities for composers in New Zealand. A voluntary committee of nine meet 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 composers workshop, advocate for NZ music where this is called for, and provide other occasional professional development opportunities. This report covers activities and news through 2014.

    CANZ held its 2014 Annual General Meeting in Wellington at the premises of SOUNZ, the Centre for New Zealand Music (i.e. New Zealand’s Music Information Centre). The relationship that CANZ has with SOUNZ continues to develop and be more clearly defined; SOUNZ is primarily the repository and information service about New Zealand’s music, and CANZ is the composer network that is by and for our composer members. As the role of SOUNZ has recently expanded to include greater responsibility for connecting performers with New Zealand music, CANZ sees its role as correspondingly developing to assist them in this undertaking. CANZ continues to work towards stronger relationships with some of the major performing ensembles and music organisations, to advocate more strongly for performances of NZ music, and to be a voice for composers when residencies and professional development programmes are being devised, or other situations where advocacy is needed.

    In April 2014 CANZ held a two-day Composers Conference at the University of Auckland. Convened by committee members Leonie Holmes and Samuel Holloway, with assistance from John Elmsly and the Karlheinz Company, the conference was provocative, collegial, creatively stimulating and informative. Presentation topics included aspects of style, they addressed approaches to compositional technique, there were analyses of works, discussions of the sociopolitical aspects of music, and a number of the presentations were personal and philosophical reflections on the act of composing.

    The Karlheinz Company performed on the Saturday evening during the Conference, and the Sunday early evening closing event involved the presentation of two awards and also a celebration of CANZ as an organisation reaching the age of 40. Chris Gendall was awarded the CANZ Trust Fund Award for compositional achievement, and John Elmsly was awarded the CANZ/KBB Citation for Services to New Zealand Music.

    In April 2014 CANZ also awarded an honorary membership to Jack Body, in recognition of his enormous contributions to the organisation, to music in New Zealand and to music in the Asia-Pacific region. Jack has been instrumental in the formation of our annual composers workshops, he has been the driving force behind the three ACL festivals that have been held in New Zealand, he has been responsible for many New Zealand and Asia-Pacific works being published, performed and recorded, and his enthusiasm and encouragement for emerging composers is extraordinary.

    In July, CANZ held our four-day Composers Workshop in Nelson, an annual event since 1982. The workshop again brought together young and emerging composers with our more experienced composers and performers. Convened by Louise Webster and Alex Taylor, the workshop again offered a mix of facilitated workshop performances of new works by emerging composers, and provided a forum where professional relationships were developed and discussions and exchanges took place between students, mentors, performers and observers. The venues were different from our usual situation because over the summer break we were informed that due to an urgent need for the Nelson School of Music’s buildings to be strengthened in case of further earthquakes it was to close for some time, so the convenors’ work was significantly expanded in the search for a new collection of venues and rehearsal spaces across the small city. This offered us a greater chance to learn about the city and its inhabitants as our events were scattered more widely than usual. It appears unlikely that the NSOM will be strengthened with any haste, so the new scattered arrangement may continue for a few years yet.

    The ISCM World Music Days in October were held in Wroclaw, Poland, and included a performance by the ensemble Klangforum Wien of Samuel Holloway’s Sillage. Samuel was present in Wroclaw to work with the performers and attend the festival. I was New Zealand’s First Delegate to the ISCM General Assembly meetings, where I was elected onto the ISCM Executive Committee. We are pleased to be gaining a greater understanding of this 93-year-old organisation, and a closer connection with the other members of the large international network. New Zealand was also represented by Mary Binney as second delegate, and as the conference of IAMIC (International Association of Music Information Centres) was also in Wroclaw overlapping with the ISCM festival, Julie Sperring (Executive Director of SOUNZ) was also present for some of the combined gathering, where she presented an interesting session about New Zealand music.

    CANZ, as the New Zealand member of ISCM, is actively developing plans to host the ISCM World New Music Days in Auckland and Christchurch in April 2020. This will be only the second time the festival will have been held in the Southern Hemisphere in the organisation’s 93 years of annual festivals. A sub-committee has developed Terms of Reference for the ISCM Steering Group which is now largely formed, and this group’s activities will be followed in two years’ time by the formation of an operational committee which will see the festival into being.

    There is much enthusiasm from the ISCM community for this festival. We are also conscious of New Zealand music and performers having been generously included in the Sydney ISCM Festival in 2010, and we wish to reciprocate the honour and ensure there is some significant inclusion of Australian music in 2020 festival.

    Following the ISCM festival in Poland, in November Mary Binney travelled to Tokyo where she represented New Zealand as the Chief Delegate at the Asian Composers League Festival and Annual General Meetings. Mary was joined by Alex Taylor who attended as our young composer representative, and whose clarinet duo Narcissus was performed in the Festival.

    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. The SOUNZ Award is for an excellent New Zealand work premiered in the previous year, and in November from a short-list of three of our members (Michael Norris, Leonie Holmes and Celeste Oram), Michael Norris won the award for his Inner Phases for Chinese instrument ensemble and string quartet.

    There are three recurring composer residencies in New Zealand, which normally each have a duration of one or two years. The composer-in-residence in Wellington is currently David Long, who is renowned for his film music in particular. The University of Otago in Dunedin hosts our nation’s longest-standing composer residency, the Mozart Fellowship, which was established in 1969. Jeremy Mayall, a multimedia artist, is currently in that role for a two-year period. The Composer-in-Residence for the Auckland Philharmonia Orchestra is currently Kenneth Young, who is also highly respected as a tuba player and conductor.

    We continue to celebrate the commitment to performing NZ music that we find amongst many of our performing ensembles. This year the NZ Trio have just launched a new composition competition involving all of New Zealand’s University music departments, and the Aroha Quartet together with SOUNZ and Radio NZ have announced the results of their call for string quartet scores to be recorded later this year.

    In November, one of our most prestigious choirs Voices New Zealand toured Australia with a programme that included music by New Zealand and Australian composers, and the New Zealand Youth Choir also continues to include a wide range of New Zealand music in its repertoire. Our music thrives on the quality of these performances, and we celebrate the enthusiasm with which the performers bring our music to our communities and beyond.



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