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

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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: 

    CANZ celebrates the success our members enjoy at home and abroad. The work of our composers features on the programmes of New Zealand-based ensembles like the CSO, NZTrio, the NZSO, the APO, Stroma, Chamber Music New Zealand and more. We also punch above our weight internationally. There are frequent performances of works by CANZ members across Europe, the Americas, Asia and Australia – particularly at the Bendigo International Festival of Exploratory Music, which, in 2019, featured a number of New Zealand composers including Kerian Varaine, Antonia Barnett-McIntosh and Dylan Lardelli, with Mark Menzies an integral part of the performer line-up.

    CANZ members are regular recipients of a number of prizes and awards. Michael Norris was the 2019 SOUNZ Contemporary Award Winner for the second year in a row, for his violin concerto Sama, presented at APRA’s Silver Scrolls Ceremony in Auckland. The Edwin Carr Foundation Scholarship recipients for 2019 were Alex Taylor – for his studies at UCSD – and Jasmine Lovell-Smith – for a residency at the Atlantic Center for the Arts, also in the US. Younger composers have also been successful in 2019: year-13 student Xiaole Zhan won the inaugural Commonwealth International Composition award for her mixed chamber quartet ......speech having its way again, I gave a cry…. The senior NZCT National Chamber Music Contest composition prize went to Emmanuel Samuel Wong, with Daniel Minh Kit Tran the junior winner.

    There are two professional composer residencies in New Zealand: the Creative New Zealand Composer-in-Residence at the NZ School of Music, which this year welcomes Salina Fisher; and the Mozart Fellowship at the University of Otago, which is currently held by Kenneth Young. Joshua Pearson is this year’s NZSO National Youth Orchestra resident composer, and David Mason is the Auckland Philharmonia Orchestra “Rising Star” Young composer in residence.

    CANZ administers two annual awards, decided by a robust voting process within the Committee: the KBB Citation for Services to New Zealand Music (with the generous support of our sponsor, KBB Music), and the CANZ Trust Fund Award for outstanding compositional promise or achievement. The KBB Citation was recently presented to the experimental-music powerhouse The Audio Foundation, and the 2019 Trust Fund Award was presented to Reuben Jelleyman just days before he flew to Europe where he’s now studying with Gerard Pesson at the Conservatoire de Paris. Reuben also received a 2019 APRA Professional Development Award, alongside film composer Maxwell Stone. The 2020 Trust Fund Award goes to Lilburn-House resident Salina Fisher, and the KBB Citation to flutist Bridget Douglas.

    CANZ also runs the annual Nelson Composers Workshop for emerging composers. The 2019 workshop was convened by Glen Downie and Pieta Hextall, and it continued the practice of engaging participants in high-quality musical, intellectual, and social experiences, drawing on the new-music expertise of mentors like Celeste Oram and David Chisholm, and performers like Mark Menzies and taongo puoro practitioner James Webster. This year’s workshop will be held in August, in order to be more available to composers from all New Zealand’s tertiary institutions.

    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 (as I mentioned earlier) the Composition section of the NZCT Chamber Music Contest and the Commonwealth International Composition Award.

    CANZ also advocates for our members through robust correspondence with a number of related organisations. These include all our professional orchestras, Chamber Music New Zealand, SOUNZ, and Creative New Zealand. We advise them on matters that affect composers, we act as a conduit for the passage of specialist new-music knowledge, lobby for more sustainable funding , and seek to influence their artistic direction – more inclusive programming, that reflects the world we inhabit.

    In many ways, we had intended for the 2020 ISCM World New Music Days and ACL Festival to present our vision for this kind of artistic direction – effectively putting our money where our mouth is. Festival Director Glenda Keam had planned something extraordinary – events that will stimulate those of us who love new music, and pique the curiosity of those on the periphery. From hundreds and hundreds of applications, the artistic team have curated a series of excellent concerts, performed by some of our finest ensembles and soloists, as well as guest ensembles from further abroad. Unfortunately: these plans have been shelved until 2022 due to the travel bans and congregation restrictions from Covid-19.

    Four CANZ members featured at the 2019 ISCM World Music Days in Estonia: Alex Taylor, Simon Eastwood, Nick Snowball and Tristan Carter. In addition to some of the wonderful music on display, the General Assemblies saw some important developments: including a presentation from Glenda, Diana Marsh and me on the 2020 Festival, and an election in which Glenda was elected President of the ISCM – the first woman to hold the post in its 97-year history.



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