lamb & hayward masterworks: piers lane plays rachmaninov

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


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


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.


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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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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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


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.


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


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


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


If you are interested, please contact:

Dame Adrienne Stewart, DNZM, QSM, LLD (Hon)

E [email protected]

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


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


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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lamb & hayward masterworks: piers lane plays rachmaninov

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