Tauranga Musica 2019 Concert Series
“Music is the universal language of mankind” — Henry Wadsworth Longfellow
- To increase the awareness of classical music in the Western Bay of Plenty and Tauranga.
- To provide a venue for audience participation, by promoting quality music of a high standard.
- To include in the repertoire a comprehensive range of composers and compositions, and create a medium for innovative music in selected venues.
By paying an annual membership fee of $40 per person, you are entitled to:
Purchase the subscription series of 6 concerts, at a cost per ticket of $20 (an overall saving of $32)
if purchased together with your annual membership fee.
Tickets may be used for any concert in the 2019 series.
- Purchase additional member's tickets at $25 per ticket at the door.
- Regular newsletters.
Tauranga Musica's next concert:
Review of Duo Col Legno:
International journeying with Duo Col Legno
A fascinated audience were suitably intrigued when renowned marimbist, Yoshiko Tsuruta and cellist, Heleen du Plessis, as Duo Col Legno, teamed up to celebrate a sense of place on Sunday.
Presenting a programme of diverse international repertoire celebrating culture and identity, the pair offered an array of musical colours ranging from gently lyrical to passionately dramatic; demonstrating the satisfying synergy that naturally exists between these two instruments.
The pristine elegance of the Romantic era was captured in the duo’s clever re-imaginings of Tchaikovsky’s Andante Cantabile and Faure’s Aprés un Rêve; merging the expected pathos and yearning with an understated freshness that felt both relaxed and contemporary. Du Plessis’s warmth at the bow was especially commendable, complemented beautifully by perfectly subtle accompaniment from Tsuruta.
Performances of the meditative, yet opulent Song of ‘Almah by Andrew Beall, and the duo’s own arrangement of Three Japanese Songs offered the plaintive and elemental. With sensitive yet dynamic execution, the duo honoured the folk roots of the source material, exploited all the best parts of their individual instrumental expertise and demonstrated the expressive potency inherent in their combination; the last Japanese song hinting at the dizzying contemporary repertoire that was to follow under Tsuruta’s hyper-charged mallets.
The thrill of edgy, athletic, passionate, wry, diverse and dramatic contemporary performance was very much the theme for the remainder of the programme with stunningly proficient renditions of Gareth Farr’s Tahu-nui-ā-Rangi, Pärt’s Fratres, Ourkouzounov’s Tonzologia and Klatzow’s A Sense of Place.
The exciting use of extended performance techniques, divergent harmonic landscapes, fragmentation and distortion of melody and pure energy placed these works squarely in the 21st century; the audience being treated to a living masterclass in the important disruption such repertoire offers and the inspiration felt when such repertoire is brought to life.
The unquestionable gifts of Tsuruta and du Plessis were evident throughout, not least in the passion with which they spoke about works with which they had especially meaningful connections. Despite demanding repertoire, not once did their energy sag; a metaphor for the seemingly endless energy exuding out of the international world of contemporary composition and arrangement.
- Leon Gray