Series sponsor
Lamb & Hayward Masterworks
2016
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Lamb & Hayward Masterworks Piers Lane plays Rachmaninov 1
Tom Woods joined Opera Australia in 1993,
becoming one of the youngest conductors in the
company’s history with his debut A Midsummer
Night’s Dream at age 23 to critical acclaim.
His ongoing relationship with Opera Australia
has seen him conduct the world premiere of
John Haddock’s Madeline Lee, the Australian
premiere of André Previn’s A Streetcar Named
Desire, and works including La bohème,
Madama Butterfly, Turandot, La traviata,
Un ballo in maschera, Carmen and many others.
Tom has conducted for the State Opera of South
Australia (Rigoletto, Il barbiere di Siviglia),
West Australian Opera (La traviata) and Opera
Queensland (The Mikado).
Tom has conducted all the major Australian
symphony orchestras and was the Artistic
Director of the Sydney Youth Orchestra between
1999 and 2005. He has conducted in Hong Kong
and Bangkok and took the London Festival
Orchestra on tour to Brunei, Kuala Lumpur and
Jakarta - as well as touring the Sydney Youth
Orchestra to Denmark, Sweden and Italy.
He has also conducted numerous world
premieres including John Taverner’s Lament
for Jerusalem and Matthew Hindson’s
Symphony No. 1.
Since 2007, he has been a frequent visitor to New
Zealand, where he was Chief Conductor of the
Christchurch Symphony Orchestra 2008-2014.
He is currently Chief Conductor Emeritus.
Tom returned to OA in 2012 for Madama Butterfly
and La bohème in 2013; he also won the Green
Room Award for Outstanding Conductor in
Opera (Of Mice and Men). Moving to Germany
in 2014, Tom is currently stellvertretender
Generalmusikdirektor in Theater Regensburg
where highlights have included Katya
Kabanova, Tristan und Isolde, Lubchenko’s
Doctor Zhivago and Marshner’s Hans Heiling
(a critically acclaimed collaboration with
director Florian Lutz). Next season he conducts
Flotow’s Martha and the world premiere of
Moritz Eggert’s Freax.
Tom WoodsChief Conductor Emeritus
Night fallCelebrating thebrilliance of Bach
27 August 6:30PM Knox Church
Brian Law Conductor / Sarah McCracken Violin
Jennifer Johnson Oboe / Oliver Sewell Tenor
2016
Book now at eventfinda.co.nz or 0800 289 849 Service fees may apply
Winter Series Sponsor
cso.co.nz
The Winter Series in Association with Beca
Lamb & Hayward Masterworks Piers Lane plays Rachmaninov 3
London-based Australian pianist Piers Lane
stands out as an engaging and highly versatile
performer, at home equally in solo, chamber and
concerto repertoire. In great demand as soloist
and collaborative artist, recent highlights
include a performance of Busoni’s mighty piano
concerto at Carnegie Hall, premieres of Carl
Vine’s second Piano Concerto, written for him,
with the Sydney Symphony and the London
Philharmonic, and several sold-out solo recitals
at Wigmore Hall.
Five times soloist at the BBC Proms in London’s
Royal Albert Hall, Piers Lane’s concerto
repertoire exceeds ninety works and has led to
engagements with many of the world’s great
orchestras and conductors. Highlights of the
past season included performing with the
London Philharmonic Orchestra and Andrew
Manze, and a return to the Seoul Spring Festival
of Chamber Music. He also gave over thirty
performances in Australia, and performed
throughout the UK, and in France and Belgium.
Forthcoming highlights include performances
at the Wimbledon Festival, at Carnegie Hall with
the newly formed The Orchestra Now, and an
extensive recital tour of Australia.
Piers has a discography of over 50 CDs, includes
much admired recordings of rare Romantic
piano concertos, the complete Preludes and
Études by Scriabin, transcriptions of Bach
and Strauss along with complete collections
of concert études by Saint-Saens, Moscheles
and Henselt, and transcriptions by Grainger.
Recent recordings have included a solo
recording, “Piers Lane goes to Town”, concertos
with the Adelaide Symphony Orchestra and
sonatas with violinist Tasmin Little.
Piers is Artistic Director of the Australian
Festival of Chamber Music, and has recently
been appointed as the new Artistic Director of
the Sydney International Piano Competition
of Australia. In the Queen’s Diamond Jubilee
Honours, he was made an Officer in the Order
of Australia for services to music.
Piers LanePiano
2016
Biographyraphy
Tonight’s guest soloist, Piers Lane, rehearsed for the
performance on the Merle Carter Piano. The purchase of this
piano by the CSO was made possible through the generous
support of the Maurice Carter Charitable Trust.
4 Lamb & Hayward Masterworks Piers Lane plays Rachmaninov
German-born Richard Strauss – together with
Gustav Mahler – is the most notable
exponent of late 19th-century German
Romanticism: a style that combined lush
orchestral effects with a highly-developed
harmonic style. Strauss’s compositional legacy
includes operas, songs, and various orchestral
and instrumental works. Among the most
innovative of his orchestral works is a series
of tone poems which he started to compose
in the mid-1880s, and which culminated some
30 years later with An Alpine Symphony.
The orchestral tone poem is a particular style
of programme music that expresses in musical
form some extra-musical entity such as a
person, scene, literary work or event. In the
case of Till Eulenspiegels lustige Streiche
(Till Eulenspiegel’s Merry Pranks), which Strauss
completed in 1895, his subject (Till Eulenspiegel)
is either an actual historical person, or a
figure of German folklore. In either case he is
portrayed as a popular rogue, who delighted in
exposing the foibles of – and playing practical
jokes (often heartless ones) on – members of
the more privileged classes. All these exploits
nevertheless come to a sad end when Till
Eulenspiegel is eventually arrested, put on trial
for blasphemy, found guilty and condemned to
death on the gallows.
Strauss was initially reluctant to ascribe a
specific “programme” to his tone poem,
but eventually conceded that the two
principal themes heard at the start of the work
– the first, a pensive tune given to the violins;
the second a jaunty snippet, first enunciated
by solo horn – represent two facets of Till
Eulenspiegel’s character. Various permutations
of these two themes, along with other musical
material depicting his subject’s numerous
misadventures and scrapes, are woven into
a unified whole.
Throughout his work, Strauss’s orchestration
is never less than inventive and enterprising,
and the tone for the most part is light-hearted
and jesting. The actual musical expression
of Till Eulenspiegel’s execution at the end is
followed by a slow reprisal of the opening solo
horn theme and an abrupt closing burst from
full orchestra – which suggests that despite
his demise, the prankster’s jocular spirit
continues to live on.
• Moderato
• Adagio sostenuto
• Allegro scherzando
Rachmaninov is rightly regarded as one of the
greatest early 20th-century, late-Romantic
composers. Destined for a career in music
from an early age, his initial studies at the
Saint Petersburg Conservatory (which he
entered at the age of ten) were unfocused
and unproductive. Transferring to the Moscow
Conservatory proved a turning point in
Rachmaninov’s life, however, and by the time of
graduation in 1892 he not only took highest
honours as a pianist, but was also attracting
attention as an up-and-coming composer.
A major setback to this burgeoning career
came in the form of a disastrous premiere of his
Symphony No. 1 in 1897. Panned by composer
– and first-night reviewer – César Cui as a
work which “would have brought ecstasy to
the inhabitants of Hell”, its hostile reception
plunged Rachmaninov into a period of deep
depression that effectively destroyed his
creative muse. Help came to hand some three
later, however, in the form of a well-known
Parisian hypnotherapist (and amateur musician)
who gradually restored the composer’s
self-confidence.
Richard Strauss (1864-1949)Till Eulenspiegels lustige Streiche, Op. 28
Sergei Rachmaninov (1873-1943)Piano Concerto No. 2 in C minor, Op. 18
Lamb & Hayward Masterworks Piers Lane plays Rachmaninov 5
By the time he came to compose his tone
poem The Isle of the Dead, Rachmaninov was
living in Dresden, having left his home country
following the Russian Revolution of 1905.
Dresden was, in itself, a city alive with music,
with the added advantage of close proximity to
Leipzig: home of the celebrated Gewandhaus
Orchestra whose musical director Rachmaninov
held in high regard. And it was in Dresden that
the seeds of The Isle of the Dead were sown.
Rachmaninov’s compatriot Igor Stravinsky
famously summed up his appearance and
general demeanour as a “six-and-a-half-foot
Russian scowl”. Drawn all his life to symbols
of mortality and death, it is hardly surprising
that when one of Rachmaninov’s Dresden
friends drew his attention to a reproduction of
a painting by the Swiss symbolist artist Arnold
Böcklin, the composer would discover in this
artwork his inspiration for The Isle of the Dead.
Böcklin’s painting of the same name depicts
a small, craggy, moonlit island towards which
an oarsman propels a craft carrying a coffin,
accompanied by a veiled figure clad in flowing
white robes. So taken was he with this image
that Rachmaninov began composing his tone
poem almost immediately, without being able
to articulate how and why the painting had
affected him so deeply: “When it came, how it
began – what can I say? It came up within me,
was entertained, written down”.
The Isle of the Dead incorporates – in fact,
is suffused with – the medieval “Dies Irae”
(“Day of Wrath”) plainchant sequence which
is initially heard in fragments, and only about
halfway through in more or less extended form.
The work opens in hushed and mysterious
tones – suggestive of the slow passage of the
boat across calm waters. The music builds
in pace and volume as the island comes into
view, and a powerful new theme is heard which
Rachmaninov himself described as symbolising
life: the natural counterpoint to death. Just when
this passionate new theme appears to have
gained ascendancy, the powerful “Dies Irae”
rings out again, and the piece concludes in the
brooding quietude with which it began.
Sergei Rachmaninov (1873-1943)The Isle of the Dead, Op. 29
Programme notes by Paul Goodson
The immediate outcome was that Rachmaninov
felt “new musical ideas beginning to stir within
me”, and started sketches for his Piano Concerto
No. 2. He continued to work on this Concerto
over the next two years, and the completed work
was premiered in Moscow in November 1901,
with Rachmaninov at the keyboard. It was an
immediate hit, and remains to this day his most
frequently performed large-scale composition,
and a perennial audience favourite.
The first movement “Moderato” opens with a
dramatic springboard of crescendoing piano
chords that introduce the solemn main theme
intoned by strings: the first of many themes in
the Concerto as a whole assigned principally
to the orchestra. Throughout this movement
the piano takes on an ensemble or responsive
role, albeit one featuring passages of glittering
bravura writing. The second movement
“Adagio sostenuto” is a tender reverie in which
thematic development is shared equally
between orchestra and soloist. A faster moving
interlude towards the end foreshadows the
concluding “Allegro scherzando”: a movement
that brims with rich and memorable “big tunes”,
culminating in an ecstatic and passionate coda.
6 Lamb & Hayward Masterworks Piers Lane plays Rachmaninov
ConcertmasterMartin Riseley
Assistant ConcertmasterSarah McCracken
Violin 1
Concertmaster EmeritusJan van den Berg
Anne Lardner
Claire Shatford
Jonathan Tanner
Juno Pyun
Bogdan Kievski
Amandine Guerin
Natalia Lomeiko
Jennie Goldstein
Violin 2
PrincipalIryna Ionenko
Associate PrincipalMilana Kornienko
Manu Berkeljon
Cornelia Didenco
Gina Crawford
Julie Pettitt
Pamela Hooper
Rebecca Leathwick
Sarang Roberts
Viola
PrincipalSharon Baylis
Associate PrincipalVyvyan Yendoll
Kerrin Brizzell
Philippa Lodge
Valeriy Maksymov
Ian Bolton
Elizabeth Charters
Cello
PrincipalGalyna Zelinska
Associate PrincipalTomas Hurnik
Dmitri Bulgakov
Caroline Blackmore
Naomi Hnat
Taylor Lin
Double Bass
Principal
Viktor Filippochkin
Associate Principal
Ross Radford
Yuri Lomeiko
Matthew Harris
Flute
Principal
Anthony Ferner
Associate Principal
Margo Askin
Matthew Lee
Susan Dollin
Oboe
Principal
Jennifer Johnson
Associate Principal
Susan McKeich
Wendy Coxon
Ashleigh Mowbray
Clarinet
Principal
Ellen Deverall
Associate Principal
Jonathan Prior
John Robinson
Hayden Sinclair
Bassoon
Principal
Selena Orwin
Associate Principal
Julie Link
Melanie Chua
Perry Carter
Horn
PrincipalIan Wildsmith
Associate PrincipalBernard Shapiro
Brooke Prendergast
Julian Weir
Antonio Dimitrov
Jenny-Marie Evans
Trumpet
PrincipalThomas Eves
Associate PrincipalSlade Hocking
Brody Linke
Trombone
PrincipalKarl Margevka
Associate PrincipalChristopher Petch
Bass Trombone
PrincipalPablo Ruiz Henao
Tuba
PrincipalNigel Seaton
Timpani
PrincipalMark La Roche
Percussion
PrincipalBrett Painter
Associate PrincipalRoanna Funcke
Douglas Brush
Harp
PrincipalHelen Webby
CelesteHamish Oliver
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Lamb & Hayward Masterworks Piers Lane plays Rachmaninov 7
Richard Strauss Till Eulenspiegels lustige Streiche, Op. 28
Sergei Rachmaninov Piano Concerto No. 2 in C minor, Op. 18
Moderato
Adagio sostenuto
Allegro scherzando
Interval
Sergei Rachmaninov Isle of the Dead Op. 29
The CSO would like to acknowledge the generous support of Lyn Wright
for the purchase of the score of Rachmaninov’s Isle of the Dead in
tonight’s performance.
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8 Lamb & Hayward Masterworks Piers Lane plays Rachmaninov
1. Conductor’s PodiumSir Robertson Stewart and Dame Adrienne Stewart DNZM, QSM, LLD (Hon)
2. Chief ConductorErnest and Catherine Henshaw
3. ConcertmasterCSO Foundation
4. Assistant Concertmaster
5. First ViolinBruce & Mary IrvineDavid & Hilary StockErnest & Catherine HenshawFarina Thompson Charitable TrustFriends of the CSOLamb & HaywardDr Prue TobinRobin & Ralph RedpathLyndsey HadleeChancellors Syndicate – Dr R Mann, Dr John Wood, Dr Rex WilliamsJubilee Syndicate – Anthony Wright, Dame Adrienne Stewart, Jenny May, Jenny Harper, Margaret Austin, Maree Inwood, Mark Stewart
6. Principal Second ViolinSheelagh Thompson
7. Associate Principal Second ViolinSyndicate – Martine Marshall-Durieux & Bruce Whitfield, Peter & Jean Hyam, Sid & Jane Ashton
8. Second ViolinMichael & Lesley Petterson OLSheelagh Thompson
9. Principal ViolaChristopher & Jilly Marshall
10. Associate Principal Viola
11. ViolaDr Prue TobinRichard & Kate BurttRob & Denise MurfittSusie, Bryan &
Caroline Pearson
Syndicate – Peter & Kay
Squires, Solar Living Ltd
12. Principal Cello
Sheelagh Thompson
13. Associate Principal Cello
Dave Evans
14. Cello
Sir Robert & Barbara,
Lady Stewart
Cantabile Syndicate
– Richard & Jeannie
Gluyas, Felicity Price,
Nancy Lady Stewart,
Kate Stutter
Pianissimo Syndicate
– Monica & Bill Luff,
Pauline Scanlan
& Elody Rathgen,
Gerald Johnstone
& Brendan Wood
Syndicate – Rod
& Jenny Carr
15. Principal Double Bass
Bernice &
Murray Ireland
16. Associate Principal Double Bass
17. Double Bass
Ruvae Britten
Joan Wilkinson
18. Principal Flute
Ros & Philip Burdon
19. Associate Principal Flute
Steve & Vicki Clarke
20. Piccolo
21. Principal Oboe
Toniq Software
Development Ltd
22. Associate Principal Oboe
Syndicate - Murray
& Co, Diana Carey
23. Cor Anglais
Linda & Warwick Webb
24. Principal Clarinet
Syndicate – Kay Giles & Barry Stephenson, James Baines & Brigid Buckenham, Richard & Janet Francis
25. Associate Principal Clarinet
Syndicate - Jane Weston, Jan Webley, Denis & Joan Barker
26. Bass Clarinet
Peter Gudsell & Joanna Waddington
27. Associate Principal E Flat Clarinet
Philippa Bates
28. Principal Bassoon
Syndicate - Paula Jameson & John Clemens
29. Associate Principal Bassoon
Farina Thompson Charitable Trust
30. Contra Bassoon
Cavell Leitch
31. Principal Horn
Sonata & Allegro Syndicates – Julie king, Lesley & Gale Fursdon, Gwyn Rogers, Peter Barton, Jenny Pinney, Rowena & Albert Yee, Jennifer Jackson, Gay Longbottom, Selwyn & Patsy Rodda, Patsy & Keith Wardell, Elizabeth Winkworth, Alistair & Susan Stokes, Lorraine Logan & David Martin, Bernice & Murray Ireland, Friends of the CSO
32. Associate Principal Horn
33. Horn
Dr Therese Arseneau & Dr Don Elder
34. Principal Trumpet
Dame Adrienne Stewart DNZM, QSM, LLD (Hon)
35. Associate Principal Trumpet
36. TrumpetDame Adrienne Stewart DNZM, QSM, LLD (Hon)
37. Principal TromboneSyndicate - Roger Barker, Carolyn Tapley
38. Associate Principal TromboneSyndicate – Clare & Justin Murray, Chris Milne & Juliet Ayrey, Andrew & Kathy Meads, Michael & Phoebe Fulton, Darren & Tania Burden, Brett & Sarah Gamble
39. TromboneRobin & Ralph Redpath
40. Principal Bass Trombone
41. Principal TubaMargaret Hutchings Charitable Trust
42. Principal TimpaniCoral Mazlin-Hill
43. Principal PercussionFriends of the CSO
44. Associate Principal PercussionAdrian & Amanda Currie
45. PercussionBob & Vicki BlythBig Bang Syndicate - Peter Wilkinson, Tim Harding, Bruce & Diana Carey, Jeremy & Lynley Smith
46. PianoErnest & Catherine Henshaw
47. CelesteCSO Foundation
48. OrganPeter & Kay Squires
49. HarpDoris Barnard & Mark Hickman
CSO Player Partnership Programme Patrons
Lamb & Hayward Masterworks Piers Lane plays Rachmaninov 9
Margaret Anderson
Anne Askey
Charlotte Bangma
Peter Barton
Margaret Buchanan
Greg Chapman
Marcia Cockburn
Michael & Alison Collins
Ruth Cooper
Jacqueline Cordiner
Gillian Creighton
Lois Daly
Lois & Lock Damen
Laura D’Amico
Brendon Doig
Michael Ellis
Ann Fettes
John Goddard
Fiona & Peter Harman
Shirley Harrison
Faye Henderson
Anonymous
Jennifer Jackson
Roger Kemp & Joan Larsen
Prue Kennard
K Marie Lockey
Dugald McDonald
Diana Madgin & Bill Willmott
G Mullenger
Caroline Murray
Joanna Palmer
Helen Peate
Barbara Peddie
Jenny Pinney
Sheila Powell
Graham Robertson
Gwyn Rogers
Soleyg Ruarus
Michael Ryan
Nolene Sheehan
Helen Sinclair
R.H Stoothoff
Parnell Trost
Doreen & Bruce Tulloch
Cecile Upton
Caitlyn Westbrooke
Barbara Williams
Mark Winter
Anthony Wright
June was the CSO’s Donor Appeal month
– The Rhythm of Giving, and we are extremely
grateful for all the support we have received.
For nearly sixty years, the Christchurch Symphony
Orchestra has played an integral role in the rhythm
and cultural fabric of Christchurch and its wider
community. During that time, we have reached
many thousands of people through our music.
In 2016, we are presenting 23 varied concert
programmes featuring the best of Christchurch,
New Zealand and international talent.
Beyond the concert stage, our Community
Engagement Programme reaches more than
20,000 people through more than 90 different
initiatives, including rest home visits and
school residencies. Many of our players are also
teachers in the wider community, spreading their
knowledge, passion, and dedication to others
around them at all levels of teaching, including
primary, intermediate, secondary, and tertiary,
as well as leading and co-ordinating a variety of
community groups for all ages and abilities.
It is not too late to donate to the Rhythm of Giving. Every gift helps and will be put to good use.
Your support ensures that the CSO will remain a vital cultural asset to the city of Christchurch.
Keep the Rhythm - Donate Now
Please consider donating either by going online to www.cso.co.nz or via direct credit to Christchurch Symphony Trust – ASB 12 3148 0124 767 00 or posting to CSO, PO Box 3260, Christchurch.
Thank you.
The rhythm of giving
The CSO would like to extend a huge thank you to the following people for their generous donation towards the CSO’s Rhythm of Giving.
10 Lamb & Hayward Masterworks Piers Lane plays Rachmaninov
If you are interested in supporting the CSO through donating towards any of the above
initiatives, please contact:
Sarah Bramhall
E [email protected] P (03) 423 9555
Thank you for your support.
The CSO’s Community Engagement Programme
is committed to ensuring that people of all
ages and walks of life have the opportunity to
experience live instrumental music.
Throughout the year, we will be visiting pre,
primary and high schools, as well as rest homes,
all over the South Island. The CSO will provide
tutoring sectionals for youth and amateur
orchestras. A highlight of the programme is the
Karawhiua! Let’s Play! residency programme.
As part of the programme, ensembles of
CSO players visit primary schools around
Christchurch and Canterbury and work with
students over the course of a week with a
programme that’s structured to cater to the
school’s specific needs. CSO players also visit
schools throughout the year to demonstrate on
musical instruments and give children a chance
to interact with them and their music.
In 2016, the CSO is also running a series of
talks for students on how to perform better
during exams. The Play Your Best seminars will
be run throughout the year and will cover how
to practise and how to enjoy the performance
experience. Schools are welcome to contact
CSO Community Engagement Programme
Leader Cathy Irons to set up suitable times for
the seminars to be held.
Throughout August, CSO ensembles will be
conducting visits to several Christchurch
primary schools, including Belfast School,
South New Brighton Primary School,
Shirley Primary School, and Beckenham
Primary School, amongst others. These visits
are sponsored by Youthtown.
At the end of the month, a group of CSO players
will also be holding a residency at Hillmorton High
School, working with the Years 7 and 8 students.
The CSO would like to thank Guoan Tian for his support
of the orchestra's Community Engagement initiatives
in Christchurch.
Community Engagement
The Music Library
Teachers and educators who are interested in what the CSO’s Community Engagement
Programme has to offer please contact:
Cathy Irons
Community Engagement Programme Leader
E [email protected] P (03) 943 7797
Make a lasting contribution to the CSO’s Music
Library by making a donation towards the
purchase or hire of music.
Donating to our library is a very special
contribution that goes on giving throughout
the life of the orchestra.
The orchestra has the following scores
for purchase:
Schumann Symphony No.4 $ 480.00
Ravel La Valse $ 450.00
Mozart Piano Concerto No. 23 K488 $ 320.00
Community
Lamb & Hayward Masterworks Piers Lane plays Rachmaninov 11
The Friends of the CSO have been around
for many years, existing, in the first instance,
to help support our orchestra financially.
This support is crucial, making an important
contribution to the survival of our orchestra,
but it is the added companionship and shared
love of music that really sets the Friends apart.
It is not often you get the chance to really
make a difference to the wellbeing of one of
the key arts organisations in Canterbury while
gaining so many personal rewards.
This year, we are proud to be engaging in a
new and innovative offering from the CSO as
sponsors of The Artist Series, where Martin
Riseley, CSO Concertmaster, and Gordon Hunt,
Principal Oboe of the London Philharmonia
Orchestra, each took to the stage in their
own concerts as both soloist and conductor.
Our sponsorship provided the platform for
Christchurch audiences to share the world-class
talents of these musicians and, as a member of
the Friends, there will be some exciting social
events to partake in.
As well as the dedicated fundraising for the
Orchestra, the committee of the Friends
organises a number of social occasions for
our members to get together throughout the
year to meet others who share their interest in
music. You will have the opportunity to meet key
members of the orchestra as well as some of our
celebrated guest artists. It is these personal
connections that enhance the enjoyment of the
overall orchestra experience.
We would like to cordially invite you to come
on board and join the Friends of the CSO.
Annual subscriptions are very affordable at $50
for adults and $30 for seniors (over 65). For this
small investment, we will keep you up to date
with what is happening within our CSO family
through our quarterly newsletters as well as
sending you invitations to all our events.
We very much look forward to welcoming you.
If you are interested, please contact:
Lorraine Logan
Chair of the Friends of the CSO
Friends of the Christchurch Symphony Inc,
PO Box 20092, Christchurch 8543
E [email protected] P (03) 388 2807
If you are interested, please contact:
Dame Adrienne Stewart, DNZM, QSM, LLD (Hon)
Friends of CSO
CSO FoundationThe CSO Foundation Trust, created in 1994,
is dedicated to securing the future of the
Christchurch Symphony Orchestra.
The Foundation is independent of the CSO
Trust which governs the CSO but works in close
harmony with the board to support the orchestra.
The Foundation has three major projects:
1. The Foundation’s vision is to grow the
endowment fund to a sufficient size that the
income derived, after reinvestment to maintain
the capital base, provides the orchestra with
supplementary funding from time to time.
2. Providing a permanent home for the orchestra
in Christchurch in conjunction with the artistic
plan for our rebuilt city.
3. Purchasing instruments the orchestra needs.
During 2015, the CSO Foundation purchased
for the orchestra a tuba. It is also the proud
supporter of CSO Concertmaster Martin Riseley.
The CSO Foundation Trust is registered with
the Charities Commission and gifts to the
Foundation may be tax deductible in accordance
with taxation legislation.
Gifts to the Foundation of any size will
make a difference to securing the future of
music in Christchurch and the South Island.
Please consider making the CSO Foundation
Trust a beneficiary of your estate and leave a
musical legacy for the orchestra.
Community
12 Lamb & Hayward Masterworks Piers Lane plays Rachmaninov
Thank you to our Sponsors Masterworks Series Sponsor CSO Presents Sponsor Winter Series Sponsor The Artist Series Sponsor
Guoan
Tian
Funders
The Deane
Endowment Trust
Estate of
George SevickeTrust
Farina ThompsonCharitable
Trust New Zealand
CharitableFoundation
Pamela WebbTrust
Platinum
Gold
House
ofHearing CSO Local Business Club
Associate Concert Sponsor
Associate Concert Sponsor
Official Wine Sponsor Official Catering Partner Concert Sponsor
Official AirlineAssociate Concert Sponsor Associate Concert Sponsor
Official Wine Sponsor
Christchurch Community Engagement
Lamb & Hayward Masterworks Piers Lane plays Rachmaninov 13
23 - 24 AUG Royal NZ Ballet
GISELLE
Isaac Theatre Royal
27 AUG The Winter Series in association with BECA
NIGHTFALL
Knox Church
10 SEP Lamb & Hayward Masterworks Series
APPALACHIAN TO ZAPPA
Charles Luney Auditorium
22 SEP Leighs Construction CSO Presents
THE 10 GREATEST MOMENTS IN THE HISTORY OF ORCHESTRAL MUSIC - DISCOVERY CONCERT TALK
Charles Luney Auditorium
12 - 15 OCT NZ Opera
SWEENEY TODD
Isaac Theatre Royal
29 - 30 OCT Cavalcade Presents
SYMPHONIC SPECTACULAR
ASB Theatre, Marlborough
2016 Concert Series4 NOV Leighs Construction CSO Presents
LAST NIGHT OF THE PROMS
Isaac Theatre Royal
5 NOV Leighs Construction CSO Presents
LAST NIGHT OF THE PROMS
Isaac Theatre Royal
19 NOV Lamb & Hayward Masterworks Series
FORCE OF NATURE
Air Force Museum of NZ, Wigram
3 DEC The Christchurch City Choir
MESSIAH
21 DEC Leighs Construction CSO Presents
FESTIVE CHRISTMAS
Isaac Theatre Royal
Board Dr Therese Arseneau Chair
James Baines
Margot Christeller
Bruce Irvine
Bill Luff
Kathy Meads
Peter van Keulen
Dame Adrienne Stewart DNZM, QSM, LLD (Hon) Advisor
Management & AdministrationGretchen La Roche Chief Executive Officer
Michelle Walsh Marketing Manager
Francesca Lee Marketing and Communications Co-ordinator
Peter McInnes Production Manager
Ian Thorpe Stage Manager
Clare De Courcy Artistic Assistant
Cathy Irons Community Engagement Programme Leader
Jenny Johnson Librarian
Sarah Bramhall Sponsorship and Fundraising Co-ordinator
Kerry Dellaca Finance Manager
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