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"Douglas Mews is a world class exponent of the harpsichord which he showed to full capacity throughout. His performance of Handel’s Suite No.2 was spellbinding." - Nelson Mail

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Otago Daily Times 

February 5th 2026 by Rebecca Fox

 

πΆπ‘§π‘’π‘β„Ž π‘“π‘™π‘Žπ‘’π‘‘π‘–π‘ π‘‘ 𝐽𝑒𝑙𝑖𝑒 π΅π‘Ÿπ‘Žπ‘›π‘Ž 𝑖𝑠 𝑒π‘₯𝑐𝑖𝑑𝑒𝑑 π‘Žπ‘π‘œπ‘’π‘‘ β„Žπ‘’π‘Ÿ π‘“π‘–π‘Ÿπ‘ π‘‘ 𝑣𝑖𝑠𝑖𝑑 π‘‘π‘œ 𝑁𝑒𝑀 π‘π‘’π‘Žπ‘™π‘Žπ‘›π‘‘ π‘“π‘œπ‘Ÿ π‘Ž π‘†π‘œπ‘’π‘‘β„Ž πΌπ‘ π‘™π‘Žπ‘›π‘‘ π‘‘π‘œπ‘’π‘Ÿ π‘π‘’π‘Ÿπ‘“π‘œπ‘Ÿπ‘šπ‘–π‘›π‘” π‘π‘Žπ‘Ÿπ‘œπ‘žπ‘’π‘’ π‘šπ‘’π‘ π‘–π‘. π‘†β„Žπ‘’ 𝑑𝑒𝑙𝑙𝑠 π‘…π‘’π‘π‘’π‘π‘π‘Ž πΉπ‘œπ‘₯ π‘Žπ‘π‘œπ‘’π‘‘ β„Žπ‘’π‘Ÿ π‘“π‘–π‘Ÿπ‘ π‘‘ π‘™π‘œπ‘£π‘’ — π‘‘β„Žπ‘’ π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘’π‘Ÿ.

 

𝐼𝑑 π‘šπ‘–π‘”β„Žπ‘‘ 𝑏𝑒 π‘π‘œπ‘›π‘ π‘–π‘‘π‘’π‘Ÿπ‘’π‘‘ 𝑏𝑦 π‘šπ‘Žπ‘›π‘¦ π‘‘π‘œ 𝑏𝑒 π‘Ž π‘β„Žπ‘–π‘™π‘‘’𝑠 π‘–π‘›π‘ π‘‘π‘Ÿπ‘’π‘šπ‘’π‘›π‘‘, 𝑏𝑒𝑑 𝐽𝑒𝑙𝑖𝑒 π΅π‘Ÿπ‘Žπ‘›π‘Ž β„Žπ‘Žπ‘  𝑙𝑒𝑑 π‘‘β„Žπ‘’ π‘“π‘–π‘”β„Žπ‘‘ π‘“π‘œπ‘Ÿ π‘‘β„Žπ‘’ π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘’π‘Ÿ π‘‘π‘œ 𝑏𝑒 π‘Ÿπ‘’π‘π‘œπ‘”π‘›π‘–π‘ π‘’π‘‘ π‘Žπ‘  𝑗𝑒𝑠𝑑 π‘Žπ‘  π‘‘π‘’π‘šπ‘Žπ‘›π‘‘π‘–π‘›π‘” π‘‘π‘œ π‘π‘™π‘Žπ‘¦ π‘Žπ‘  π‘Žπ‘›π‘¦ π‘œπ‘‘β„Žπ‘’π‘Ÿ π‘–π‘›π‘ π‘‘π‘Ÿπ‘’π‘šπ‘’π‘›π‘‘.

 

π‘‡β„Žπ‘’ πΆπ‘§π‘’π‘β„Ž π‘šπ‘’π‘ π‘–π‘π‘–π‘Žπ‘› π‘–π‘›π‘–π‘‘π‘–π‘Žπ‘™π‘™π‘¦ π‘‘π‘œπ‘œπ‘˜ 𝑒𝑝 π‘‘β„Žπ‘’ π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘’π‘Ÿ π‘Žπ‘ , π‘€β„Žπ‘–π‘™π‘’ π‘ β„Žπ‘’ π‘€π‘Žπ‘›π‘‘π‘’π‘‘ π‘‘π‘œ π‘π‘™π‘Žπ‘¦ π‘‘β„Žπ‘’ π‘‘π‘Ÿπ‘œπ‘šπ‘π‘œπ‘›π‘’ π‘™π‘–π‘˜π‘’ β„Žπ‘’π‘Ÿ π‘“π‘Žπ‘‘β„Žπ‘’π‘Ÿ, 𝑖𝑑 π‘€π‘Žπ‘  π‘›π‘œπ‘‘ π‘‘β„Žπ‘’ π‘‘π‘œπ‘›π‘’ π‘‘β„Žπ‘–π‘›π‘” 𝑖𝑛 1980𝑠 πΆπ‘§π‘’π‘β„Žπ‘œπ‘ π‘™π‘œπ‘£π‘Žπ‘˜π‘–π‘Ž π‘“π‘œπ‘Ÿ π‘Ž π‘€π‘œπ‘šπ‘Žπ‘› π‘‘π‘œ π‘π‘™π‘Žπ‘¦ π‘Ž π‘π‘Ÿπ‘Žπ‘ π‘  π‘–π‘›π‘ π‘‘π‘Ÿπ‘’π‘šπ‘’π‘›π‘‘. 𝐼𝑑 π‘€π‘Žπ‘  π‘œπ‘›π‘™π‘¦ π‘ π‘’π‘π‘π‘œπ‘ π‘’π‘‘ π‘‘π‘œ 𝑏𝑒 π‘‘π‘’π‘šπ‘π‘œπ‘Ÿπ‘Žπ‘Ÿπ‘¦ 𝑏𝑒𝑑 π‘‘β„Žπ‘’ π‘–π‘›π‘ π‘‘π‘Ÿπ‘’π‘šπ‘’π‘›π‘‘ π‘π‘’π‘π‘Žπ‘šπ‘’ π‘Ž "π‘™π‘–π‘“π‘’π‘™π‘œπ‘›π‘” π‘™π‘œπ‘£π‘’".

 

"𝐡𝑦 π‘‘β„Žπ‘’ π‘Žπ‘”π‘’ π‘œπ‘“ 5, 𝐼 π‘˜π‘›π‘’π‘€ 𝐼 π‘€π‘Žπ‘›π‘‘π‘’π‘‘ π‘‘π‘œ 𝑏𝑒 π‘Ž π‘šπ‘’π‘ π‘–π‘π‘–π‘Žπ‘› π‘Žπ‘›π‘‘ 𝐼 π‘€π‘œπ‘’π‘™π‘‘ 𝑑𝑒𝑙𝑙 π‘’π‘£π‘’π‘Ÿπ‘¦π‘œπ‘›π‘’ π‘‘β„Žπ‘Žπ‘‘."

 

π‘†π‘œ π‘šπ‘’π‘β„Ž π‘ π‘œ π‘‘β„Žπ‘Žπ‘‘ π‘Žπ‘‘ π‘‘β„Žπ‘’ 𝑒𝑛𝑑 π‘œπ‘“ β„Žπ‘’π‘Ÿ 𝑠𝑑𝑒𝑑𝑖𝑒𝑠 π‘‘β„Žπ‘’ π‘‘π‘–π‘Ÿπ‘’π‘π‘‘π‘œπ‘Ÿ π‘œπ‘“ π‘‘β„Žπ‘’ π‘π‘œπ‘›π‘ π‘’π‘Ÿπ‘£π‘Žπ‘‘π‘œπ‘Ÿπ‘¦ (π‘šπ‘’π‘ π‘–π‘ β„Žπ‘–π‘”β„Ž π‘ π‘β„Žπ‘œπ‘œπ‘™) 𝑖𝑛 𝑃𝑙𝑧𝑒𝑛 π‘œπ‘“π‘“π‘’π‘Ÿπ‘’π‘‘ β„Žπ‘’π‘Ÿ π‘‘β„Žπ‘’ π‘œπ‘π‘π‘œπ‘Ÿπ‘‘π‘’π‘›π‘–π‘‘π‘¦ π‘‘π‘œ 𝑠𝑒𝑑 𝑒𝑝 π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘’π‘Ÿ π‘‘π‘’π‘π‘Žπ‘Ÿπ‘‘π‘šπ‘’π‘›π‘‘ π‘Žπ‘›π‘‘ 𝑖𝑛 2003 π‘‘β„Žπ‘’ π‘“π‘–π‘Ÿπ‘ π‘‘ π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘’π‘Ÿ π‘π‘™π‘Žπ‘ π‘  𝑖𝑛 π‘‘β„Žπ‘’ πΆπ‘§π‘’π‘β„Ž 𝑅𝑒𝑝𝑒𝑏𝑙𝑖𝑐 π‘€π‘Žπ‘  β„Žπ‘’π‘™π‘‘.

 

"𝐼𝑛 π‘‘β„Žπ‘’ π‘’π‘Žπ‘Ÿπ‘™π‘¦ π‘‘π‘Žπ‘¦π‘ , 𝑖𝑑 π‘€π‘Žπ‘  π‘β„Žπ‘Žπ‘™π‘™π‘’π‘›π‘”π‘–π‘›π‘” π‘‘π‘œ π‘‘π‘’π‘šπ‘œπ‘›π‘ π‘‘π‘Ÿπ‘Žπ‘‘π‘’ π‘‘β„Žπ‘Žπ‘‘ π‘π‘™π‘Žπ‘¦π‘–π‘›π‘” π‘‘β„Žπ‘’ π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘’π‘Ÿ 𝑖𝑠 𝑗𝑒𝑠𝑑 π‘Žπ‘  π‘‘π‘’π‘šπ‘Žπ‘›π‘‘π‘–π‘›π‘” π‘Žπ‘  π‘Žπ‘›π‘¦ π‘œπ‘‘β„Žπ‘’π‘Ÿ π‘–π‘›π‘ π‘‘π‘Ÿπ‘’π‘šπ‘’π‘›π‘‘. 𝐼𝑑 π‘‘π‘œπ‘œπ‘˜ π‘ π‘œπ‘šπ‘’ π‘‘π‘–π‘šπ‘’ π‘“π‘œπ‘Ÿ 𝑒𝑣𝑒𝑛 π‘šπ‘¦ π‘π‘œπ‘™π‘™π‘’π‘Žπ‘”π‘’π‘’π‘  π‘Žπ‘‘ π‘‘β„Žπ‘’ π‘π‘œπ‘›π‘ π‘’π‘Ÿπ‘£π‘Žπ‘‘π‘œπ‘Ÿπ‘¦ π‘‘π‘œ π‘Ÿπ‘’π‘π‘œπ‘”π‘›π‘–π‘ π‘’ π‘‘β„Žπ‘Žπ‘‘ π‘‘β„Žπ‘’ π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘’π‘Ÿ 𝑖𝑠 π‘›π‘œπ‘‘ π‘šπ‘’π‘Ÿπ‘’π‘™π‘¦ π‘Žπ‘› π‘–π‘›π‘ π‘‘π‘Ÿπ‘’π‘šπ‘’π‘›π‘‘ π‘“π‘œπ‘Ÿ π‘¦π‘œπ‘’π‘›π‘” π‘β„Žπ‘–π‘™π‘‘π‘Ÿπ‘’π‘›."

 

𝐡𝑒𝑑 π‘Žπ‘“π‘‘π‘’π‘Ÿ π‘šπ‘œπ‘Ÿπ‘’ π‘‘β„Žπ‘Žπ‘› 20 π‘¦π‘’π‘Žπ‘Ÿπ‘ , π΅π‘Ÿπ‘Žπ‘›π‘Ž π‘π‘Žπ‘› 𝑠𝑒𝑒 π‘π‘Ÿπ‘œπ‘”π‘Ÿπ‘’π‘ π‘  β„Žπ‘Žπ‘  𝑏𝑒𝑒𝑛 π‘šπ‘Žπ‘‘π‘’.

"π‘‡β„Žπ‘’ π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘’π‘Ÿ β„Žπ‘Žπ‘  π‘Ÿπ‘’π‘Žπ‘β„Žπ‘’π‘‘ π‘Ž π‘£π‘’π‘Ÿπ‘¦ β„Žπ‘–π‘”β„Ž 𝑙𝑒𝑣𝑒𝑙 π‘Žπ‘›π‘‘ π‘›π‘œπ‘€ β„Žπ‘Žπ‘  𝑖𝑑𝑠 π‘œπ‘€π‘› π‘‘π‘’π‘‘π‘–π‘π‘Žπ‘‘π‘’π‘‘ π‘Žπ‘’π‘‘π‘–π‘’π‘›π‘π‘’. π‘†π‘œπ‘šπ‘’ π‘œπ‘“ π‘šπ‘¦ 𝑠𝑑𝑒𝑑𝑒𝑛𝑑𝑠 β„Žπ‘Žπ‘£π‘’ π‘”π‘œπ‘›π‘’ π‘œπ‘› π‘‘π‘œ 𝑠𝑑𝑒𝑑𝑦 π‘Žπ‘‘ π‘π‘Ÿπ‘’π‘ π‘‘π‘–π‘”π‘–π‘œπ‘’π‘  π‘šπ‘’π‘ π‘–π‘ π‘ π‘β„Žπ‘œπ‘œπ‘™π‘  π‘Žπ‘π‘Ÿπ‘œπ‘ π‘  πΈπ‘’π‘Ÿπ‘œπ‘π‘’ [πΏπ‘¦π‘œπ‘›, π΅π‘Žπ‘ π‘’π‘™, π‘‰π‘–π‘’π‘›π‘›π‘Ž, πΊπ‘Ÿπ‘Žπ‘§, πΉπ‘Ÿπ‘Žπ‘›π‘˜π‘“π‘’π‘Ÿπ‘‘, π΅π‘’π‘Ÿπ‘”π‘’π‘›], π‘€β„Žπ‘–π‘β„Ž π‘π‘Ÿπ‘–π‘›π‘”π‘  π‘šπ‘’ π‘”π‘Ÿπ‘’π‘Žπ‘‘ π‘—π‘œπ‘¦ π‘Žπ‘›π‘‘ π‘π‘œπ‘›π‘“π‘–π‘Ÿπ‘šπ‘  π‘‘β„Žπ‘Žπ‘‘ π‘šπ‘¦ π‘€π‘œπ‘Ÿπ‘˜ 𝑖𝑠 π‘šπ‘’π‘Žπ‘›π‘–π‘›π‘”π‘“π‘’π‘™ π‘Žπ‘›π‘‘ π‘‘β„Žπ‘Žπ‘‘ 𝐼 π‘Žπ‘š π‘œπ‘› π‘‘β„Žπ‘’ π‘Ÿπ‘–π‘”β„Žπ‘‘ π‘π‘Žπ‘‘β„Ž."

 

π‘†β„Žπ‘’ 𝑀𝑖𝑙𝑙 𝑏𝑒 π‘ β„Žπ‘œπ‘€π‘π‘Žπ‘ π‘–π‘›π‘” π‘‘β„Žπ‘’ π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘’π‘Ÿ’𝑠 π‘π‘œπ‘šπ‘π‘™π‘’π‘₯𝑖𝑑𝑦 π‘‘π‘’π‘Ÿπ‘–π‘›π‘” β„Žπ‘’π‘Ÿ π‘‘π‘œπ‘’π‘Ÿ π‘œπ‘“ 𝑁𝑒𝑀 π‘π‘’π‘Žπ‘™π‘Žπ‘›π‘‘ π‘‘β„Žπ‘–π‘  π‘šπ‘œπ‘›π‘‘β„Ž π‘‘π‘œ π‘π‘’π‘Ÿπ‘“π‘œπ‘Ÿπ‘š π‘€π‘–π‘‘β„Ž π‘Ž π‘π‘Žπ‘Ÿπ‘œπ‘žπ‘’π‘’ π‘”π‘Ÿπ‘œπ‘’π‘. 𝐴𝑑 π‘‘β„Žπ‘’ β„Žπ‘’π‘Žπ‘Ÿπ‘‘ π‘œπ‘“ π‘‘β„Žπ‘’ π‘π‘œπ‘›π‘π‘’π‘Ÿπ‘‘ 𝑖𝑠 π‘‰π‘–π‘£π‘Žπ‘™π‘‘π‘–’𝑠 πΏπ‘Ž π‘π‘œπ‘‘π‘‘π‘’, π‘Ž π‘‘π‘Ÿπ‘Žπ‘šπ‘Žπ‘‘π‘–π‘ π‘Žπ‘›π‘‘ π‘–π‘šπ‘Žπ‘”π‘–π‘›π‘Žπ‘‘π‘–π‘£π‘’ π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘’π‘Ÿ π‘π‘œπ‘›π‘π‘’π‘Ÿπ‘‘π‘œ π‘‘β„Žπ‘Žπ‘‘ π‘ β„Žπ‘’ 𝑀𝑖𝑙𝑙 π‘π‘’π‘Ÿπ‘“π‘œπ‘Ÿπ‘š.

 

π»π‘œπ‘€π‘’π‘£π‘’π‘Ÿ, π‘€β„Žπ‘’π‘› π‘ β„Žπ‘’ π‘“π‘–π‘Ÿπ‘ π‘‘ π‘π‘’π‘”π‘Žπ‘› π‘π‘™π‘Žπ‘¦π‘–π‘›π‘” π‘‘β„Žπ‘’ π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘’π‘Ÿ 𝑖𝑑 π‘€π‘Žπ‘  π‘›π‘œπ‘‘ π‘Žπ‘› π‘œπ‘π‘‘π‘–π‘œπ‘› π‘‘π‘œ 𝑠𝑑𝑒𝑑𝑦 π‘Žπ‘‘ π‘‘β„Žπ‘’ π‘π‘œπ‘›π‘ π‘’π‘Ÿπ‘£π‘Žπ‘‘π‘œπ‘Ÿπ‘¦; π‘–π‘›π‘ π‘‘π‘’π‘Žπ‘‘, π‘ β„Žπ‘’ 𝑠𝑑𝑒𝑑𝑖𝑒𝑑 π‘‘β„Žπ‘’ π‘šπ‘œπ‘‘π‘’π‘Ÿπ‘› π‘‘π‘Ÿπ‘Žπ‘›π‘ π‘£π‘’π‘Ÿπ‘ π‘’ 𝑓𝑙𝑒𝑑𝑒.

π΅π‘Ÿπ‘Žπ‘›π‘Ž π‘‘π‘–π‘ π‘π‘œπ‘£π‘’π‘Ÿπ‘’π‘‘ π‘ β„Žπ‘’ π‘™π‘œπ‘£π‘’π‘‘ 𝑏𝑒𝑖𝑛𝑔 π‘Žπ‘π‘™π‘’ π‘‘π‘œ π‘π‘Ÿπ‘’π‘Žπ‘‘π‘’ π‘ π‘œπ‘’π‘›π‘‘ π‘€π‘–π‘‘β„Ž β„Žπ‘’π‘Ÿ π‘œπ‘€π‘› π‘π‘Ÿπ‘’π‘Žπ‘‘β„Ž.

 

"π΅π‘Ÿπ‘’π‘Žπ‘‘β„Ž 𝑖𝑠 π‘’π‘›π‘–π‘žπ‘’π‘’ π‘Žπ‘›π‘‘ π‘’π‘Žπ‘β„Ž π‘œπ‘“ 𝑒𝑠 β„Žπ‘Žπ‘  π‘Ž π‘‘π‘–π‘“π‘“π‘’π‘Ÿπ‘’π‘›π‘‘ 𝑠𝑒𝑛𝑠𝑖𝑑𝑖𝑣𝑖𝑑𝑦 π‘‘π‘œ 𝑖𝑑, π‘€β„Žπ‘–π‘β„Ž π‘šπ‘’π‘Žπ‘›π‘  𝑀𝑒 π‘π‘Ÿπ‘œπ‘‘π‘’π‘π‘’ π‘Ž π‘‘π‘–π‘“π‘“π‘’π‘Ÿπ‘’π‘›π‘‘ π‘ π‘œπ‘’π‘›π‘‘, 𝑒𝑣𝑒𝑛 𝑖𝑓 𝑀𝑒’π‘Ÿπ‘’ π‘π‘™π‘Žπ‘¦π‘–π‘›π‘” π‘‘β„Žπ‘’ π‘ π‘Žπ‘šπ‘’ 𝑓𝑙𝑒𝑑𝑒."

 

𝐴𝑑 π‘’π‘™π‘’π‘šπ‘’π‘›π‘‘π‘Žπ‘Ÿπ‘¦ π‘Žπ‘Ÿπ‘‘ π‘ π‘β„Žπ‘œπ‘œπ‘™ π‘ β„Žπ‘’ β„Žπ‘Žπ‘‘ π‘œπ‘›π‘’ π‘‘π‘’π‘Žπ‘β„Žπ‘’π‘Ÿ π‘€β„Žπ‘œ π‘‘π‘œπ‘œπ‘˜ π‘‘β„Žπ‘’ π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘’π‘Ÿ π‘ π‘’π‘Ÿπ‘–π‘œπ‘’π‘ π‘™π‘¦ π‘Žπ‘  π‘Ž π‘™π‘’π‘”π‘–π‘‘π‘–π‘šπ‘Žπ‘‘π‘’ π‘šπ‘’π‘ π‘–π‘π‘Žπ‘™ π‘–π‘›π‘ π‘‘π‘Ÿπ‘’π‘šπ‘’π‘›π‘‘ π‘Žπ‘›π‘‘ π‘šπ‘Žπ‘›π‘Žπ‘”π‘’π‘‘ π‘‘π‘œ 𝑓𝑖𝑛𝑑 π‘ β„Žπ‘’π‘’π‘‘ π‘šπ‘’π‘ π‘–π‘ π‘Žπ‘›π‘‘ π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘–π‘›π‘”π‘  𝑒𝑣𝑒𝑛 π‘‘β„Žπ‘œπ‘’π‘”β„Ž π‘‘β„Žπ‘’ π‘π‘œπ‘’π‘›π‘‘π‘Ÿπ‘¦ π‘π‘Žπ‘π‘˜ π‘‘β„Žπ‘’π‘› π‘€π‘Žπ‘  π‘’π‘›π‘‘π‘’π‘Ÿ π‘π‘œπ‘šπ‘šπ‘’π‘›π‘–π‘ π‘‘ π‘Ÿπ‘’π‘™π‘’ π‘Žπ‘›π‘‘ π‘€π‘Žπ‘  π‘žπ‘’π‘–π‘‘π‘’ π‘–π‘ π‘œπ‘™π‘Žπ‘‘π‘’π‘‘ π‘“π‘Ÿπ‘œπ‘š π‘“π‘Ÿπ‘œπ‘š π‘‘π‘’π‘£π‘’π‘™π‘œπ‘π‘šπ‘’π‘›π‘‘π‘  𝑖𝑛 π‘Šπ‘’π‘ π‘‘π‘’π‘Ÿπ‘› πΈπ‘’π‘Ÿπ‘œπ‘π‘’, 𝑒𝑣𝑒𝑛 𝑖𝑛 π‘‘β„Žπ‘’ 𝑓𝑖𝑒𝑙𝑑 π‘œπ‘“ β„Žπ‘–π‘ π‘‘π‘œπ‘Ÿπ‘–π‘π‘Žπ‘™ π‘–π‘›π‘ π‘‘π‘Ÿπ‘’π‘šπ‘’π‘›π‘‘π‘ .

 

"𝐼 π‘‘π‘œπ‘›’𝑑 π‘˜π‘›π‘œπ‘€ β„Žπ‘œπ‘€ π‘ β„Žπ‘’ 𝑑𝑖𝑑 𝑖𝑑 π‘π‘Žπ‘π‘˜ π‘‘β„Žπ‘’π‘›. π‘†β„Žπ‘’ π‘–π‘›π‘‘π‘Ÿπ‘œπ‘‘π‘’π‘π‘’π‘‘ π‘šπ‘’ π‘‘π‘œ β„Žπ‘–π‘ π‘‘π‘œπ‘Ÿπ‘–π‘π‘Žπ‘™ π‘šπ‘’π‘ π‘–π‘."

π‘‡β„Žπ‘’ π‘™π‘–π‘‘π‘’π‘Ÿπ‘Žπ‘‘π‘’π‘Ÿπ‘’ π‘“π‘œπ‘Ÿ π‘‘β„Žπ‘’ π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘’π‘Ÿ π‘Žπ‘›π‘‘ π‘‘π‘Ÿπ‘Žπ‘›π‘ π‘£π‘’π‘Ÿπ‘ π‘’ 𝑓𝑙𝑒𝑑𝑒 π‘‘π‘Žπ‘‘π‘’π‘  π‘π‘Žπ‘π‘˜ π‘‘π‘œ π‘‘β„Žπ‘’ 𝑀𝑖𝑑𝑑𝑙𝑒 𝐴𝑔𝑒𝑠.

 

"π‘†π‘œ 𝑖𝑑’𝑠 π‘›π‘œπ‘‘ 𝑗𝑒𝑠𝑑 π‘π‘Žπ‘Ÿπ‘œπ‘žπ‘’π‘’ π‘šπ‘’π‘ π‘–π‘ π‘‘β„Žπ‘Žπ‘‘ π‘“π‘Žπ‘ π‘π‘–π‘›π‘Žπ‘‘π‘’π‘  π‘šπ‘’. 𝐼 π‘™π‘œπ‘£π‘’ β„Žπ‘–π‘ π‘‘π‘œπ‘Ÿπ‘–π‘π‘Žπ‘™ π‘šπ‘’π‘ π‘–π‘ 𝑖𝑛 π‘”π‘’π‘›π‘’π‘Ÿπ‘Žπ‘™ — π‘‘β„Žπ‘’π‘Ÿπ‘’’𝑠 π‘Žπ‘™π‘€π‘Žπ‘¦π‘  π‘ π‘œπ‘šπ‘’π‘‘β„Žπ‘–π‘›π‘” 𝑛𝑒𝑀 π‘‘π‘œ π‘‘π‘–π‘ π‘π‘œπ‘£π‘’π‘Ÿ."

 

𝐴 π‘π‘Žπ‘Ÿπ‘‘π‘–π‘π‘’π‘™π‘Žπ‘Ÿ π‘‘β„Žπ‘Ÿπ‘–π‘™π‘™ π‘“π‘œπ‘Ÿ π΅π‘Ÿπ‘Žπ‘›π‘Ž 𝑖𝑠 π‘π‘™π‘Žπ‘¦π‘–π‘›π‘” π‘“π‘Ÿπ‘œπ‘š π‘π‘œπ‘π‘–π‘’π‘  π‘œπ‘Ÿ π‘œπ‘Ÿπ‘–π‘”π‘–π‘›π‘Žπ‘™ π‘šπ‘Žπ‘›π‘’π‘ π‘π‘Ÿπ‘–π‘π‘‘π‘  π‘œπ‘“ π‘π‘œπ‘šπ‘π‘œπ‘ π‘’π‘Ÿπ‘  π‘“π‘Ÿπ‘œπ‘š π‘‘β„Žπ‘Žπ‘‘ π‘‘π‘–π‘šπ‘’, π‘Žπ‘  π‘‘β„Žπ‘’π‘¦ π‘šπ‘œπ‘ π‘‘π‘™π‘¦ 𝑑𝑖𝑑 π‘›π‘œπ‘‘ π‘›π‘œπ‘‘π‘Žπ‘‘π‘’ π‘‘π‘¦π‘›π‘Žπ‘šπ‘–π‘π‘  π‘œπ‘Ÿ π‘Žπ‘Ÿπ‘‘π‘–π‘π‘’π‘™π‘Žπ‘‘π‘–π‘œπ‘›, π‘Žπ‘›π‘‘ π‘‘π‘’π‘šπ‘π‘œ π‘€π‘Žπ‘  π‘œπ‘“π‘‘π‘’π‘› π‘–π‘›π‘‘π‘–π‘π‘Žπ‘‘π‘’π‘‘ π‘œπ‘›π‘™π‘¦ 𝑏𝑦 π‘‘β„Žπ‘’ 𝑑𝑖𝑑𝑙𝑒, π‘€β„Žπ‘–π‘β„Ž π‘ π‘œπ‘šπ‘’π‘‘π‘–π‘šπ‘’π‘  𝑒π‘₯π‘π‘Ÿπ‘’π‘ π‘ π‘’π‘‘ π‘’π‘šπ‘œπ‘‘π‘–π‘œπ‘›π‘  π‘Ÿπ‘Žπ‘‘β„Žπ‘’π‘Ÿ π‘‘β„Žπ‘Žπ‘› π‘Ž 𝑠𝑝𝑒𝑐𝑖𝑓𝑖𝑐 π‘‘π‘’π‘šπ‘π‘œ.

 

"π‘ƒπ‘™π‘Žπ‘¦π‘–π‘›π‘” π‘π‘Žπ‘Ÿπ‘œπ‘žπ‘’π‘’ π‘šπ‘’π‘ π‘–π‘ π‘šπ‘’π‘Žπ‘›π‘  𝑏𝑒𝑖𝑛𝑔 π‘Žπ‘π‘™π‘’ π‘‘π‘œ π‘Ÿπ‘’π‘Žπ‘‘ π‘π‘Žπ‘ π‘ π‘œ π‘π‘œπ‘›π‘‘π‘–π‘›π‘’π‘œ, π‘π‘™π‘Žπ‘¦ π‘‘β„Žπ‘’ β„Žπ‘Žπ‘Ÿπ‘π‘ π‘–π‘β„Žπ‘œπ‘Ÿπ‘‘ π‘Žπ‘›π‘‘ π‘–π‘šπ‘π‘Ÿπ‘œπ‘£π‘–π‘ π‘’ π‘œπ‘Ÿπ‘›π‘Žπ‘šπ‘’π‘›π‘‘π‘ . 𝐴𝑛𝑑, π‘šπ‘œπ‘ π‘‘ π‘–π‘šπ‘π‘œπ‘Ÿπ‘‘π‘Žπ‘›π‘‘π‘™π‘¦, π‘π‘™π‘Žπ‘¦π‘–π‘›π‘” β„Žπ‘–π‘ π‘‘π‘œπ‘Ÿπ‘–π‘π‘Žπ‘™ π‘šπ‘’π‘ π‘–π‘ π‘œπ‘› π‘π‘œπ‘π‘–π‘’π‘  π‘œπ‘“ β„Žπ‘–π‘ π‘‘π‘œπ‘Ÿπ‘–π‘π‘Žπ‘™ π‘–π‘›π‘ π‘‘π‘Ÿπ‘’π‘šπ‘’π‘›π‘‘π‘  — π‘‘β„Žπ‘Žπ‘‘’𝑠 π‘Ž π‘Ÿπ‘’π‘Žπ‘™ π‘β„Žπ‘Žπ‘™π‘™π‘’π‘›π‘”π‘’."

 

π΅π‘Ÿπ‘Žπ‘›π‘Ž π‘π‘™π‘Žπ‘¦π‘  π‘Ž π‘π‘Žπ‘Ÿπ‘œπ‘žπ‘’π‘’ 𝑓𝑙𝑒𝑑𝑒 π‘€β„Žπ‘–π‘β„Ž β„Žπ‘Žπ‘  π‘œπ‘›π‘™π‘¦ π‘œπ‘›π‘’ π‘˜π‘’π‘¦ π‘Žπ‘›π‘‘ 𝑖𝑠 π‘šπ‘Žπ‘‘π‘’ π‘œπ‘“ π‘€π‘œπ‘œπ‘‘ π‘€β„Žπ‘–π‘™π‘’ π‘Ž π‘šπ‘œπ‘‘π‘’π‘Ÿπ‘› π‘‘π‘Ÿπ‘Žπ‘›π‘ π‘£π‘’π‘Ÿπ‘ π‘’ 𝑓𝑙𝑒𝑑𝑒 β„Žπ‘Žπ‘  π‘šπ‘Žπ‘›π‘¦ π‘˜π‘’π‘¦π‘  π‘Žπ‘›π‘‘ 𝑖𝑠 π‘šπ‘Žπ‘‘π‘’ π‘œπ‘“ π‘šπ‘’π‘‘π‘Žπ‘™ π‘ π‘œ 𝑖𝑠 π‘šπ‘œπ‘Ÿπ‘’ π‘Ÿπ‘œπ‘π‘’π‘ π‘‘ π‘Žπ‘›π‘‘ π‘ π‘œπ‘’π‘›π‘‘π‘  π‘ π‘‘π‘Ÿπ‘œπ‘›π‘”π‘’π‘Ÿ.

 

"πΉπ‘œπ‘Ÿ π‘šπ‘’ π‘Žπ‘  π‘Ž π‘π‘Žπ‘Ÿπ‘œπ‘žπ‘’π‘’ 𝑓𝑙𝑒𝑑𝑒 π‘π‘™π‘Žπ‘¦π‘’π‘Ÿ, π‘‘β„Žπ‘’ π‘šπ‘œπ‘ π‘‘ π‘β„Žπ‘Žπ‘™π‘™π‘’π‘›π‘”π‘–π‘›π‘” π‘Žπ‘ π‘π‘’π‘π‘‘ 𝑖𝑠 π‘‘β„Žπ‘Žπ‘‘ 𝐼 β„Žπ‘Žπ‘£π‘’ π‘‘π‘œ π‘Ÿπ‘’π‘”π‘’π‘™π‘Žπ‘‘π‘’ π‘’π‘Žπ‘β„Ž π‘›π‘œπ‘‘π‘’ π‘€π‘–π‘‘β„Ž π‘šπ‘¦ π‘’π‘šπ‘π‘œπ‘’π‘β„Žπ‘’π‘Ÿπ‘’ [π‘‘β„Žπ‘’ π‘€π‘Žπ‘¦ π‘‘β„Žπ‘’ π‘šπ‘œπ‘’π‘‘β„Ž 𝑖𝑠 π‘Žπ‘π‘π‘™π‘–π‘’π‘‘ π‘‘π‘œ π‘‘β„Žπ‘’ π‘šπ‘œπ‘’π‘‘β„Žπ‘π‘–π‘’π‘π‘’] π‘Žπ‘›π‘‘ π‘Žπ‘‘π‘—π‘’π‘ π‘‘ 𝑖𝑑 π‘π‘œπ‘›π‘ π‘‘π‘Žπ‘›π‘‘π‘™π‘¦. 𝐼 π‘Žπ‘™π‘ π‘œ 𝑛𝑒𝑒𝑑 π‘‘π‘œ π‘π‘™π‘œπ‘€ 𝑙𝑒𝑠𝑠 π‘Žπ‘–π‘Ÿ. π‘‡β„Žπ‘’ π‘π‘Žπ‘Ÿπ‘œπ‘žπ‘’π‘’ 𝑓𝑙𝑒𝑑𝑒 β„Žπ‘Žπ‘  π‘Ž π‘ π‘šπ‘Žπ‘™π‘™π‘’π‘Ÿ π‘Ÿπ‘Žπ‘›π‘”π‘’ — π‘‘β„Žπ‘’ π‘™π‘œπ‘€π‘’π‘ π‘‘ π‘›π‘œπ‘‘π‘’ 𝑖𝑠 𝐷1 π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ β„Žπ‘–π‘”β„Žπ‘’π‘ π‘‘ 𝑖𝑠 𝐴3. πΉπ‘œπ‘Ÿ π‘π‘’π‘Ÿπ‘‘π‘Žπ‘–π‘› π‘›π‘œπ‘‘π‘’π‘ , 𝐼 β„Žπ‘Žπ‘£π‘’ π‘‘π‘œ 𝑒𝑠𝑒 π‘‘π‘–π‘“π‘“π‘’π‘Ÿπ‘’π‘›π‘‘ π‘“π‘–π‘›π‘”π‘’π‘Ÿπ‘–π‘›π‘”π‘  𝑑𝑒𝑝𝑒𝑛𝑑𝑖𝑛𝑔 π‘œπ‘› π‘‘β„Žπ‘’ π‘˜π‘’π‘¦ 𝐼’π‘š π‘π‘™π‘Žπ‘¦π‘–π‘›π‘” 𝑖𝑛."

 

π΅π‘Ÿπ‘Žπ‘›π‘Ž β„Žπ‘Žπ‘  𝑏𝑒𝑒𝑛 π‘–π‘›π‘ π‘π‘–π‘Ÿπ‘’π‘‘ 𝑖𝑛 β„Žπ‘’π‘Ÿ π‘π‘Žπ‘Ÿπ‘’π‘’π‘Ÿ 𝑏𝑦 π‘Ÿπ‘’π‘›π‘œπ‘€π‘›π‘’π‘‘ π·π‘’π‘‘π‘β„Ž π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘’π‘Ÿ π‘π‘™π‘Žπ‘¦π‘’π‘Ÿ π‘ƒπ‘’π‘‘π‘’π‘Ÿ π»π‘œπ‘™π‘‘π‘ π‘™π‘Žπ‘”. π΄π‘“π‘‘π‘’π‘Ÿ 1989’𝑠 𝑉𝑒𝑙𝑣𝑒𝑑 π‘…π‘’π‘£π‘œπ‘™π‘’π‘‘π‘–π‘œπ‘›, β„Žπ‘’ π‘€π‘Žπ‘  π‘Žπ‘šπ‘œπ‘›π‘” π‘‘β„Žπ‘’ π‘“π‘–π‘Ÿπ‘ π‘‘ π‘šπ‘’π‘ π‘–π‘π‘–π‘Žπ‘›π‘  π‘‘π‘œ 𝑣𝑖𝑠𝑖𝑑 π‘‘β„Žπ‘’ πΆπ‘§π‘’π‘β„Ž 𝑅𝑒𝑝𝑒𝑏𝑙𝑖𝑐. π‘†β„Žπ‘’ π‘Žπ‘‘π‘‘π‘’π‘›π‘‘π‘’π‘‘ β„Žπ‘–π‘  π‘šπ‘Žπ‘ π‘‘π‘’π‘Ÿπ‘π‘™π‘Žπ‘ π‘  𝑖𝑛 π‘ƒπ‘Ÿπ‘Žπ‘”π‘’π‘’ π‘€β„Žπ‘’π‘› π‘ β„Žπ‘’ π‘€π‘Žπ‘  17.

 

"π΄π‘“π‘‘π‘’π‘Ÿ π‘‘β„Žπ‘’ π‘π‘œπ‘’π‘Ÿπ‘ π‘’, β„Žπ‘’ π‘Žπ‘ π‘˜π‘’π‘‘ π‘šπ‘’ 𝑖𝑓 𝐼 π‘€π‘œπ‘’π‘™π‘‘ π‘™π‘–π‘˜π‘’ π‘‘π‘œ 𝑠𝑑𝑒𝑑𝑦 π‘€π‘–π‘‘β„Ž β„Žπ‘–π‘š. π΄π‘™π‘‘β„Žπ‘œπ‘’π‘”β„Ž 𝐼 π‘€π‘Žπ‘  𝑠𝑑𝑒𝑑𝑦𝑖𝑛𝑔 π‘šπ‘œπ‘‘π‘’π‘Ÿπ‘› π‘‘π‘Ÿπ‘Žπ‘›π‘ π‘£π‘’π‘Ÿπ‘ π‘’ 𝑓𝑙𝑒𝑑𝑒 π‘Žπ‘‘ π‘‘β„Žπ‘’ π‘π‘œπ‘›π‘ π‘’π‘Ÿπ‘£π‘Žπ‘‘π‘œπ‘Ÿπ‘¦ π‘Žπ‘‘ π‘‘β„Žπ‘’ π‘‘π‘–π‘šπ‘’, π‘‘β„Žπ‘’ π‘–π‘‘π‘’π‘Ž π‘œπ‘“ π‘π‘’π‘Ÿπ‘ π‘’π‘–π‘›π‘” π‘šπ‘¦ 𝑠𝑑𝑒𝑑𝑖𝑒𝑠 π‘Žπ‘‘ π‘Ž π‘’π‘›π‘–π‘£π‘’π‘Ÿπ‘ π‘–π‘‘π‘¦ 𝑖𝑛 π»π‘Žπ‘šπ‘π‘’π‘Ÿπ‘” π‘ π‘‘π‘Žπ‘¦π‘’π‘‘ π‘€π‘–π‘‘β„Ž π‘šπ‘’ π‘Žπ‘›π‘‘ π‘›π‘’π‘£π‘’π‘Ÿ 𝑙𝑒𝑑 π‘”π‘œ."

 

𝑂𝑛𝑒 π‘œπ‘“ β„Žπ‘’π‘Ÿ π‘“π‘Žπ‘£π‘œπ‘’π‘Ÿπ‘–π‘‘π‘’ 𝑝𝑖𝑒𝑐𝑒𝑠 π‘‘π‘œ π‘π‘™π‘Žπ‘¦ π‘Žπ‘  π‘Ž π‘ π‘œπ‘™π‘œπ‘–π‘ π‘‘ π‘€π‘–π‘‘β„Ž π‘Žπ‘› π‘œπ‘Ÿπ‘β„Žπ‘’π‘ π‘‘π‘Ÿπ‘Ž 𝑖𝑠 πΆπ‘œπ‘›π‘π‘’π‘Ÿπ‘‘π‘œ 𝑖𝑛 𝐸 π‘šπ‘–π‘›π‘œπ‘Ÿ, 𝑏𝑦 𝐺.𝑃. π‘‡π‘’π‘™π‘’π‘šπ‘Žπ‘›π‘›, π‘€β„Žπ‘’π‘Ÿπ‘’ π‘‘β„Žπ‘’π‘Ÿπ‘’ π‘Žπ‘Ÿπ‘’ π‘‘π‘€π‘œ π‘ π‘œπ‘™π‘œπ‘–π‘ π‘‘π‘  — π‘œπ‘›π‘’ π‘œπ‘› π‘‘β„Žπ‘’ π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘’π‘Ÿ π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ π‘œπ‘‘β„Žπ‘’π‘Ÿ π‘œπ‘› π‘‘β„Žπ‘’ π‘‘π‘Ÿπ‘Žπ‘›π‘ π‘£π‘’π‘Ÿπ‘ π‘’ 𝑓𝑙𝑒𝑑𝑒.

 

"𝑆𝑖𝑛𝑐𝑒 𝐼 π‘π‘Žπ‘› π‘π‘™π‘Žπ‘¦ π‘π‘œπ‘‘β„Ž, 𝑖𝑑’𝑠 π‘Ÿπ‘’π‘Žπ‘™π‘™π‘¦ 𝑓𝑒𝑛 π‘‘π‘œ π‘π‘’π‘Ÿπ‘“π‘œπ‘Ÿπ‘š π‘‘β„Žπ‘’ π‘ π‘Žπ‘šπ‘’ 𝑝𝑖𝑒𝑐𝑒, π‘œπ‘›π‘’ π‘‘π‘–π‘šπ‘’ π‘œπ‘› π‘‘β„Žπ‘’ π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘’π‘Ÿ π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ 𝑛𝑒π‘₯𝑑 π‘œπ‘› π‘‘β„Žπ‘’ π‘‘π‘Ÿπ‘Žπ‘›π‘ π‘£π‘’π‘Ÿπ‘ π‘’ 𝑓𝑙𝑒𝑑𝑒."

 

"𝐼 π‘Žπ‘™π‘ π‘œ π‘™π‘œπ‘£π‘’ πΉπ‘Ÿπ‘’π‘›π‘β„Ž π‘π‘Žπ‘Ÿπ‘œπ‘žπ‘’π‘’ π‘šπ‘’π‘ π‘–π‘. π‘Šπ‘’ π‘π‘™π‘Žπ‘¦ 𝑖𝑛 π‘Ž π‘‘π‘Ÿπ‘–π‘œ π‘€π‘–π‘‘β„Ž π‘Ÿπ‘’π‘π‘œπ‘Ÿπ‘‘π‘’π‘Ÿ, π‘£π‘–π‘œπ‘™π‘Ž π‘‘π‘Ž π‘”π‘Žπ‘šπ‘π‘Ž π‘Žπ‘›π‘‘ β„Žπ‘Žπ‘Ÿπ‘π‘ π‘–π‘β„Žπ‘œπ‘Ÿπ‘‘. π‘‡β„Žπ‘–π‘  π‘šπ‘’π‘ π‘–π‘ 𝑖𝑠 π‘šπ‘œπ‘Ÿπ‘’ π‘–π‘›π‘‘π‘–π‘šπ‘Žπ‘‘π‘’ π‘Žπ‘›π‘‘, π‘Žπ‘  π‘Ž π‘π‘™π‘Žπ‘¦π‘’π‘Ÿ, 𝐼 𝑛𝑒𝑒𝑑 π‘‘π‘œ 𝑙𝑖𝑠𝑑𝑒𝑛 π‘šπ‘œπ‘Ÿπ‘’ π‘π‘™π‘œπ‘ π‘’π‘™π‘¦ π‘‘π‘œ π‘‘β„Žπ‘’ π‘œπ‘‘β„Žπ‘’π‘Ÿπ‘  π‘Žπ‘›π‘‘ π‘π‘œπ‘šπ‘šπ‘’π‘›π‘–π‘π‘Žπ‘‘π‘’ π‘€π‘–π‘‘β„Ž π‘‘β„Žπ‘’π‘š."

 

π‘‡π‘’π‘™π‘’π‘šπ‘Žπ‘›π‘›’𝑠 π‘šπ‘’π‘ π‘–π‘ 𝑖𝑠 π‘ π‘œπ‘šπ‘’π‘‘β„Žπ‘–π‘›π‘” π‘ β„Žπ‘’ π‘’π‘›π‘—π‘œπ‘¦π‘  π‘π‘™π‘Žπ‘¦π‘–π‘›π‘” π‘Žπ‘›π‘¦π‘‘π‘–π‘šπ‘’.

 

"𝐼𝑑 𝑖𝑠 π‘šπ‘’π‘™π‘œπ‘‘π‘–π‘, π‘’π‘™π‘’π‘”π‘Žπ‘›π‘‘, π‘£π‘–π‘Ÿπ‘‘π‘’π‘œπ‘ π‘–π‘, 𝑀𝑖𝑑𝑑𝑦 π‘Žπ‘›π‘‘ π‘Ÿπ‘–π‘β„Ž 𝑖𝑛 π‘“π‘œπ‘™π‘˜-π‘–π‘›π‘ π‘π‘–π‘Ÿπ‘’π‘‘ π‘šπ‘œπ‘‘π‘–π‘“π‘ . 𝐼 π‘Žπ‘™π‘€π‘Žπ‘¦π‘  π‘’π‘›π‘—π‘œπ‘¦ π‘π‘’π‘Ÿπ‘“π‘œπ‘Ÿπ‘šπ‘–π‘›π‘” β„Žπ‘–π‘  π‘€π‘œπ‘Ÿπ‘˜π‘  𝑖𝑛 π‘π‘œπ‘›π‘π‘’π‘Ÿπ‘‘ π‘Žπ‘›π‘‘, π‘“π‘œπ‘Ÿ 𝑓𝑒𝑛, 𝐼 π‘™π‘œπ‘£π‘’ π‘–π‘šπ‘π‘Ÿπ‘œπ‘£π‘–π‘ π‘–π‘›π‘” π‘€π‘–π‘‘β„Ž π‘Žπ‘šπ‘Žπ‘‘π‘’π‘’π‘Ÿ π‘šπ‘’π‘ π‘–π‘π‘–π‘Žπ‘›π‘  π‘Žπ‘Ÿπ‘œπ‘’π‘›π‘‘ π‘Ž π‘π‘Žπ‘šπ‘π‘“π‘–π‘Ÿπ‘’."

 

𝐴𝑠 π‘ β„Žπ‘’ π‘Žπ‘™π‘ π‘œ π‘π‘™π‘Žπ‘¦π‘  π‘Žπ‘› π‘’π‘–π‘”β„Žπ‘‘-π‘˜π‘’π‘¦ π‘π‘™π‘Žπ‘ π‘ π‘–π‘π‘Žπ‘™ 𝑓𝑙𝑒𝑑𝑒, π‘ β„Žπ‘’ π‘Žπ‘™π‘ π‘œ π‘’π‘›π‘—π‘œπ‘¦π‘  π‘π‘’π‘Ÿπ‘“π‘œπ‘Ÿπ‘šπ‘–π‘›π‘” π‘ π‘¦π‘šπ‘β„Žπ‘œπ‘›π‘–π‘’π‘  𝑏𝑦 π‘€π‘œπ‘§π‘Žπ‘Ÿπ‘‘, π»π‘Žπ‘¦π‘‘π‘› π‘Žπ‘›π‘‘ π΅π‘’π‘’π‘‘β„Žπ‘œπ‘£π‘’π‘› "π‘€π‘–π‘‘β„Ž π‘”π‘Ÿπ‘’π‘Žπ‘‘ π‘’π‘›π‘‘β„Žπ‘’π‘ π‘–π‘Žπ‘ π‘š".

π‘‡β„Žπ‘’ π‘‘π‘–π‘“π‘“π‘’π‘Ÿπ‘’π‘›π‘π‘’ 𝑏𝑒𝑑𝑀𝑒𝑒𝑛 π‘π‘™π‘Žπ‘¦π‘–π‘›π‘” 𝑖𝑛 π‘Ž π‘π‘Žπ‘Ÿπ‘œπ‘žπ‘’π‘’ π‘œπ‘Ÿπ‘β„Žπ‘’π‘ π‘‘π‘Ÿπ‘Ž π‘π‘œπ‘šπ‘π‘Žπ‘Ÿπ‘’π‘‘ π‘€π‘–π‘‘β„Ž π‘Ž π‘šπ‘œπ‘‘π‘’π‘Ÿπ‘› π‘œπ‘›π‘’ 𝑖𝑠 π‘Ÿπ‘’π‘Žπ‘™π‘™π‘¦ 𝑖𝑛 π‘‘β„Žπ‘’ π‘Žπ‘π‘π‘Ÿπ‘œπ‘Žπ‘β„Ž. 𝐴𝑠 π‘Ž π‘π‘Žπ‘Ÿπ‘œπ‘žπ‘’π‘’ π‘šπ‘’π‘ π‘–π‘π‘–π‘Žπ‘›, π‘ β„Žπ‘’ β„Žπ‘Žπ‘  π‘šπ‘’π‘β„Ž π‘šπ‘œπ‘Ÿπ‘’ π‘–π‘›π‘‘π‘’π‘Ÿπ‘π‘Ÿπ‘’π‘‘π‘–π‘£π‘’ π‘“π‘Ÿπ‘’π‘’π‘‘π‘œπ‘š π‘Žπ‘  π‘‘β„Žπ‘’ π‘›π‘œπ‘‘π‘Žπ‘‘π‘–π‘œπ‘› 𝑖𝑛 π‘‘β„Žπ‘’ π‘π‘Žπ‘Ÿπ‘œπ‘žπ‘’π‘’ π‘π‘’π‘Ÿπ‘–π‘œπ‘‘ π‘€π‘Žπ‘  π‘›π‘œπ‘‘ π‘π‘Ÿπ‘’π‘π‘–π‘ π‘’.

 

"𝐴𝑠 π‘Ž π‘π‘’π‘Ÿπ‘“π‘œπ‘Ÿπ‘šπ‘’π‘Ÿ, 𝐼 β„Žπ‘Žπ‘£π‘’ π‘‘π‘œ π‘’π‘›π‘‘π‘’π‘Ÿπ‘ π‘‘π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ π‘π‘Žπ‘ π‘ π‘œ π‘π‘œπ‘›π‘‘π‘–π‘›π‘’π‘œ π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ β„Žπ‘Žπ‘Ÿπ‘šπ‘œπ‘›π‘¦ π‘‘π‘œ 𝑑𝑒𝑐𝑖𝑑𝑒 β„Žπ‘œπ‘€ 𝐼’𝑙𝑙 π‘–π‘›π‘‘π‘’π‘Ÿπ‘π‘Ÿπ‘’π‘‘ π‘‘β„Žπ‘’ 𝑝𝑖𝑒𝑐𝑒. π‘‡β„Žπ‘’π‘Ÿπ‘’ π‘Žπ‘Ÿπ‘’ π‘ π‘œ π‘šπ‘Žπ‘›π‘¦ π‘π‘œπ‘ π‘ π‘–π‘π‘–π‘™π‘–π‘‘π‘–π‘’π‘ , π‘€β„Žπ‘–π‘β„Ž 𝑔𝑖𝑣𝑒𝑠 π‘šπ‘’ π‘”π‘Ÿπ‘’π‘Žπ‘‘ π‘“π‘Ÿπ‘’π‘’π‘‘π‘œπ‘š, 𝑏𝑒𝑑 𝑖𝑑 π‘Žπ‘™π‘ π‘œ π‘π‘œπ‘šπ‘’π‘  π‘€π‘–π‘‘β„Ž π‘‘β„Žπ‘’ π‘Ÿπ‘’π‘ π‘π‘œπ‘›π‘ π‘–π‘π‘–π‘™π‘–π‘‘π‘¦ π‘œπ‘“ π‘‘π‘’π‘™π‘–π‘£π‘’π‘Ÿπ‘–π‘›π‘” π‘Ž β„Žπ‘–π‘ π‘‘π‘œπ‘Ÿπ‘–π‘π‘Žπ‘™π‘™π‘¦ π‘–π‘›π‘“π‘œπ‘Ÿπ‘šπ‘’π‘‘ π‘π‘’π‘Ÿπ‘“π‘œπ‘Ÿπ‘šπ‘Žπ‘›π‘π‘’."

 

π‘‡π‘œ π‘π‘Ÿπ‘’π‘π‘Žπ‘Ÿπ‘’ π‘“π‘œπ‘Ÿ π‘Ž π‘π‘œπ‘›π‘π‘’π‘Ÿπ‘‘, π‘’π‘ π‘π‘’π‘π‘–π‘Žπ‘™π‘™π‘¦ π‘œπ‘›π‘’ π‘€π‘–π‘‘β„Ž π‘Ž π‘β„Žπ‘Žπ‘™π‘™π‘’π‘›π‘”π‘–π‘›π‘” π‘ π‘œπ‘™π‘œ π‘π‘Ÿπ‘œπ‘”π‘Ÿπ‘Žπ‘šπ‘šπ‘’, π΅π‘Ÿπ‘Žπ‘›π‘Ž π‘π‘Ÿπ‘Žπ‘π‘‘π‘–π‘ π‘’π‘  π‘‘β„Žπ‘’ π‘π‘Ÿπ‘œπ‘”π‘Ÿπ‘Žπ‘šπ‘šπ‘’ 𝑀𝑒𝑙𝑙 𝑖𝑛 π‘Žπ‘‘π‘£π‘Žπ‘›π‘π‘’. 𝑂𝑛𝑐𝑒 π‘‘β„Žπ‘’ π‘‘π‘’π‘β„Žπ‘›π‘–π‘π‘Žπ‘™ π‘Žπ‘ π‘π‘’π‘π‘‘π‘  π‘Žπ‘Ÿπ‘’ π‘ π‘’π‘π‘’π‘Ÿπ‘’, π‘ β„Žπ‘’ π‘ π‘‘π‘Žπ‘Ÿπ‘‘π‘  π‘ β„Žπ‘Žπ‘π‘–π‘›π‘” π‘‘β„Žπ‘’ π‘Žπ‘Ÿπ‘‘π‘–π‘ π‘‘π‘–π‘ π‘Žπ‘›π‘‘ π‘šπ‘’π‘ π‘–π‘π‘Žπ‘™ π‘–π‘›π‘‘π‘’π‘Ÿπ‘π‘Ÿπ‘’π‘‘π‘Žπ‘‘π‘–π‘œπ‘›.

𝑂𝑛 π‘‘β„Žπ‘’ π‘‘π‘Žπ‘¦ π‘œπ‘“ π‘Ž π‘π‘œπ‘›π‘π‘’π‘Ÿπ‘‘ π‘ β„Žπ‘’ π‘™π‘–π‘˜π‘’π‘  π‘‘π‘œ π‘€π‘Žπ‘Ÿπ‘š 𝑒𝑝 π‘‘β„Žπ‘œπ‘Ÿπ‘œπ‘’π‘”β„Žπ‘™π‘¦ π‘Žπ‘›π‘‘ π‘“π‘œπ‘π‘’π‘ π‘’π‘  π‘œπ‘› 𝑑𝑒𝑒𝑝 π‘π‘Ÿπ‘’π‘Žπ‘‘β„Žπ‘–π‘›π‘” π‘Žπ‘›π‘‘ π‘Ÿπ‘’π‘™π‘Žπ‘₯𝑖𝑛𝑔 𝑗𝑒𝑠𝑑 π‘π‘’π‘“π‘œπ‘Ÿπ‘’ 𝑠𝑑𝑒𝑝𝑝𝑖𝑛𝑔 π‘œπ‘› π‘ π‘‘π‘Žπ‘”π‘’.

 

"𝐼 π‘Žπ‘™π‘€π‘Žπ‘¦π‘  π‘™π‘œπ‘œπ‘˜ π‘“π‘œπ‘Ÿπ‘€π‘Žπ‘Ÿπ‘‘ π‘‘π‘œ π‘‘β„Žπ‘’ π‘π‘œπ‘›π‘π‘’π‘Ÿπ‘‘, 𝑒π‘₯𝑐𝑖𝑑𝑒𝑑 π‘Žπ‘π‘œπ‘’π‘‘ π‘‘β„Žπ‘’ π‘Žπ‘’π‘‘π‘–π‘’π‘›π‘π‘’ π‘Žπ‘›π‘‘ π‘‘β„Žπ‘’ π‘’π‘›π‘’π‘Ÿπ‘”π‘¦ π‘‘β„Žπ‘’π‘¦ π‘π‘Ÿπ‘–π‘›π‘”, π‘Žπ‘  𝑀𝑒𝑙𝑙 π‘Žπ‘  π‘‘β„Žπ‘’ π‘’π‘›π‘’π‘Ÿπ‘”π‘¦ 𝐼 𝑀𝑖𝑙𝑙 π‘ β„Žπ‘Žπ‘Ÿπ‘’ π‘Žπ‘›π‘‘ π‘‘π‘Žπ‘˜π‘’ π‘“π‘Ÿπ‘œπ‘š π‘‘β„Žπ‘’ π‘ π‘‘π‘Žπ‘”π‘’. 𝐴𝑛𝑑, 𝑦𝑒𝑠, 𝐼 π‘Žπ‘™π‘€π‘Žπ‘¦π‘  𝑓𝑒𝑒𝑙 π‘Ž 𝑏𝑖𝑑 π‘œπ‘“ π‘ π‘‘π‘Žπ‘”π‘’ π‘“π‘Ÿπ‘–π‘”β„Žπ‘‘, 𝑏𝑒𝑑 𝐼 𝑠𝑒𝑒 𝑖𝑑 π‘Žπ‘  π‘π‘œπ‘ π‘–π‘‘π‘–π‘£π‘’ π‘€β„Žπ‘’π‘› 𝑖𝑑’𝑠 π‘›π‘œπ‘‘ π‘œπ‘£π‘’π‘Ÿπ‘€β„Žπ‘’π‘™π‘šπ‘–π‘›π‘”.

 

π‘†π‘‘π‘Žπ‘”π‘’ π‘“π‘Ÿπ‘–π‘”β„Žπ‘‘ π‘π‘Žπ‘› π‘Žπ‘π‘‘π‘’π‘Žπ‘™π‘™π‘¦ π‘π‘’π‘ β„Ž π‘Ž π‘π‘’π‘Ÿπ‘“π‘œπ‘Ÿπ‘šπ‘’π‘Ÿ π‘‘π‘œ 𝑔𝑖𝑣𝑒 π‘‘β„Žπ‘’π‘–π‘Ÿ 𝑏𝑒𝑠𝑑, π‘ π‘œ 𝐼 π‘’π‘šπ‘π‘Ÿπ‘Žπ‘π‘’ 𝑖𝑑 π‘€π‘–π‘‘β„Ž π‘—π‘œπ‘¦.

 

πΉπ‘œπ‘Ÿ π‘‘π‘’π‘π‘Žπ‘‘π‘’π‘ , π΅π‘Ÿπ‘Žπ‘›π‘Ž β„Žπ‘Žπ‘  𝑗𝑒𝑔𝑔𝑙𝑒𝑑 β„Žπ‘’π‘Ÿ π‘π‘’π‘Ÿπ‘“π‘œπ‘Ÿπ‘šπ‘Žπ‘›π‘π‘’ π‘ π‘β„Žπ‘’π‘‘π‘’π‘™π‘’ π‘€π‘–π‘‘β„Ž π‘‘π‘’π‘Žπ‘β„Žπ‘–π‘›π‘”. π‘†β„Žπ‘’ 𝑖𝑠 π‘Žπ‘™π‘ π‘œ β„Žπ‘’π‘Žπ‘‘ π‘œπ‘“ π‘‘π‘Ÿπ‘Žπ‘£π‘’π‘Ÿπ‘ π‘œ, π‘‘β„Žπ‘’ π‘π‘Žπ‘Ÿπ‘œπ‘žπ‘’π‘’ 𝑓𝑙𝑒𝑑𝑒, π‘Žπ‘‘ π‘‘β„Žπ‘’ π‘ƒπ‘Ÿπ‘Žπ‘”π‘’π‘’ πΆπ‘œπ‘›π‘ π‘’π‘Ÿπ‘£π‘Žπ‘‘π‘œπ‘Ÿπ‘¦.

 

"𝐼𝑑 π‘Ÿπ‘’π‘žπ‘’π‘–π‘Ÿπ‘’π‘  π‘π‘Žπ‘Ÿπ‘’π‘“π‘’π‘™ π‘π‘™π‘Žπ‘›π‘›π‘–π‘›π‘”. 𝐴𝑛𝑑 π‘€β„Žπ‘’π‘› π‘¦π‘œπ‘’ π‘Žπ‘™π‘ π‘œ β„Žπ‘Žπ‘£π‘’ π‘Ž π‘“π‘Žπ‘šπ‘–π‘™π‘¦, π‘€π‘–π‘‘β„Ž π‘Ž π‘π‘Žπ‘Ÿπ‘‘π‘›π‘’π‘Ÿ π‘€β„Žπ‘œ 𝑖𝑠 π‘Ž π‘šπ‘’π‘ π‘–π‘π‘–π‘Žπ‘›, 𝑖𝑑 π‘π‘Žπ‘› 𝑏𝑒 𝑒𝑣𝑒𝑛 π‘šπ‘œπ‘Ÿπ‘’ π‘β„Žπ‘Žπ‘™π‘™π‘’π‘›π‘”π‘–π‘›π‘”."

 

πΈπ‘ π‘π‘’π‘π‘–π‘Žπ‘™π‘™π‘¦ π‘€β„Žπ‘’π‘› π‘ β„Žπ‘’ 𝑖𝑠 π‘‘π‘œ π‘‘π‘Ÿπ‘Žπ‘£π‘’π‘™ π‘‘π‘œ π‘‘β„Žπ‘’ π‘œπ‘‘β„Žπ‘’π‘Ÿ 𝑠𝑖𝑑𝑒 π‘œπ‘“ π‘‘β„Žπ‘’ π‘€π‘œπ‘Ÿπ‘™π‘‘, 𝑏𝑒𝑑 π‘ β„Žπ‘’ 𝑖𝑠 π‘™π‘œπ‘œπ‘˜π‘–π‘›π‘” π‘“π‘œπ‘Ÿπ‘€π‘Žπ‘Ÿπ‘‘ π‘‘π‘œ β„Žπ‘’π‘Ÿ π‘“π‘–π‘Ÿπ‘ π‘‘ 𝑣𝑖𝑠𝑖𝑑 π‘‘π‘œ 𝑁𝑒𝑀 π‘π‘’π‘Žπ‘™π‘Žπ‘›π‘‘ π‘Žπ‘  π‘π‘Žπ‘Ÿπ‘‘ π‘œπ‘“ π‘‘β„Žπ‘’ π΅π‘Žπ‘Ÿπ‘œπ‘žπ‘’π‘’ π‘ˆπ‘›π‘π‘œπ‘’π‘›π‘‘ πΆπ‘œπ‘›π‘π‘’π‘Ÿπ‘‘ π‘‡π‘œπ‘’π‘Ÿ, π‘π‘Ÿπ‘’π‘ π‘’π‘›π‘‘π‘’π‘‘ 𝑏𝑦 π΅π‘Žπ‘Ÿπ‘œπ‘žπ‘’π‘’ 𝑀𝑒𝑠𝑖𝑐 πΆπ‘œπ‘šπ‘šπ‘’π‘›π‘–π‘‘π‘¦ π‘Žπ‘›π‘‘ πΈπ‘‘π‘’π‘π‘Žπ‘‘π‘–π‘œπ‘›π‘Žπ‘™ π‘‡π‘Ÿπ‘’π‘ π‘‘ π‘œπ‘“ 𝑁𝑒𝑀 π‘π‘’π‘Žπ‘™π‘Žπ‘›π‘‘.

 

𝐴 π‘˜π‘’π‘’π‘› π‘šπ‘œπ‘’π‘›π‘‘π‘Žπ‘–π‘› β„Žπ‘–π‘˜π‘’π‘Ÿ, 𝑐𝑦𝑐𝑙𝑖𝑠𝑑 π‘Žπ‘›π‘‘ π‘ π‘€π‘–π‘šπ‘šπ‘’π‘Ÿ π‘Žπ‘  𝑀𝑒𝑙𝑙 π‘Žπ‘  π‘“π‘™π‘œπ‘€π‘’π‘Ÿ π‘”π‘Žπ‘Ÿπ‘‘π‘’π‘›π‘’π‘Ÿ, π΅π‘Ÿπ‘Žπ‘›π‘Ž 𝑖𝑠 π‘˜π‘’π‘’π‘› π‘‘π‘œ 𝑠𝑒𝑒 𝑖𝑓 𝑁𝑒𝑀 π‘π‘’π‘Žπ‘™π‘Žπ‘›π‘‘ 𝑖𝑠 π‘Žπ‘  π‘π‘’π‘Žπ‘’π‘‘π‘–π‘“π‘’π‘™ π‘Žπ‘  𝑖𝑑 π‘™π‘œπ‘œπ‘˜π‘  𝑖𝑛 π‘‘β„Žπ‘’ π‘β„Žπ‘œπ‘‘π‘œπ‘  π‘Žπ‘›π‘‘ π‘‘π‘œπ‘π‘’π‘šπ‘’π‘›π‘‘π‘Žπ‘Ÿπ‘–π‘’π‘  π‘ β„Žπ‘’ β„Žπ‘Žπ‘  𝑠𝑒𝑒𝑛.

 

"𝐼 π‘π‘Žπ‘›’𝑑 π‘€π‘Žπ‘–π‘‘ π‘‘π‘œ 𝑒π‘₯π‘π‘’π‘Ÿπ‘–π‘’π‘›π‘π‘’ 𝑖𝑑 π‘“π‘œπ‘Ÿ π‘šπ‘¦π‘ π‘’π‘™π‘“. 𝐼’π‘š π‘Žπ‘™π‘ π‘œ π‘™π‘œπ‘œπ‘˜π‘–π‘›π‘” π‘“π‘œπ‘Ÿπ‘€π‘Žπ‘Ÿπ‘‘ π‘‘π‘œ π‘šπ‘’π‘’π‘‘π‘–π‘›π‘” 𝑛𝑒𝑀 π‘π‘’π‘œπ‘π‘™π‘’ π‘Žπ‘›π‘‘ π‘‘π‘–π‘ π‘π‘œπ‘£π‘’π‘Ÿπ‘–π‘›π‘” π‘‘β„Žπ‘’ π‘™π‘œπ‘π‘Žπ‘™ π‘Žπ‘‘π‘šπ‘œπ‘ π‘β„Žπ‘’π‘Ÿπ‘’."

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Audience Feedback from Bohemian Baroque 2025 

 

"It was beautiful!" Kathryn, Dunedin

 

"Tonight's concert was absolutely sublime." Lis, Invercargill

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"Their authenticity of timbre and stylistic delivery was outstanding...billed as vibrant and innovative and certainly impressed."

Elizabeth Baumann in Otago Daily Times

 

"Elizabeth Baumann's review & critique could have well described the same programme & performance from the night previous in St Lukes Oamaru: the acoustic there might have been kinder to the harpsichord: the Cello Adagio also resonated sublimely - all round we are grateful both for the genre and the international ensemble bringing us such rarity of Baroque in live performance."

Bruce, Oamaru

 

"If I hadn't had a last minute call to drive a school bus I would've headed down to Dunedin without a camera - to just listen, I couldn't listen and take photos, the music swept me away"

Elizabeth, Oamaru

 

"Just attended the concert in Invercargill this evening. Superb musicians and beautiful music. So wonderful to hear the harpsichord have the spotlight. Edita’s playing was wonderful. Looking forward to your next concert! "

Christine, Invercargill

 

"This really was something special - best wishes for the rest of the tour!"

Tony, Dunedin

 

"Wonderful show as always!" Darryl, Gore

 

“The music was light and beautiful like Champagne, my only complaint was that it felt more like 20 minutes instead of 90 minutes... I wish they played longer!”

Franzieska, Christchurch

 

"Edita on the harpsichord was just exceptional! It was absolutely stunning to watch and beautiful to listen to!"

Eva, Christchurch

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Otago Daily Times

Baroque sounds rarely heard in New Zealand impress​

Bohemian Baroque

St Paul’s Cathedral

Thursday, February 13

​https://www.odt.co.nz/news/dunedin/baroque-sounds-rarely-heard-new-zealand-impress

 

A unique recital presented by the Baroque Music Community and Educational Trust of New Zealand was performed for a good-sized audience in St Paul’s Cathedral on Thursday evening. Five musicians performed a 90-minute programme of Baroque works by Bohemian composers of that era. Their instruments were authentic with gut strings and Baroque tunings, and the works performed are rarely heard in concert in New Zealand.

Artists performing were violinist Szabolcs Illes Partita from Hungary, Rakuto Kurano (violin), Sarah Kadas (viola), Tomas Hurnik (cello) and Edita Kegterova from the Czech Republic at the harpsichord. Their authenticity of timbre and stylistic delivery was outstanding. They began with a five-movement Partita a Quattro in D Minor by Frantisek Tuma (1704-74) and I was immediately reminded of how music of this period tends to be so predictable for astute listeners, with motifs, sequential repetition and strict adherence of modulation only to related keys. The second movement Presto was particularly impressive, immediately demonstrating the abilities and genre devotion of this ensemble.

Cello Concerto in D Minor by Antonin Reichenauer  (c.1694-1730) performed by Tomas Hurnik included effective lyricism in the Adagio second movement. A five movement Concertus II in D Minor Op.4 by Jan Josef Brentner (1689-1742) began with a rather plaintive Largo. The various sections were not lengthy but effectively stylised and the final bright Menuet ended suddenly with a weak appoggiatura.

Harpsichord Concerto in G Major by Jiri Antonin Benda (1722-1795) starred Edita Keglerova and was an absolute highlight. Such nimble fingers for the two Allegro sections, and even the middle Largo belied the meaning of the word. The positioning and instrumental balance could have given more exposure to the harpsichord, which was often overwhelmed by the strings in tutti sections.

Sinfonia in C by Vaclav Vodicka (1720-1774) ended this unique recital by the Southern Baroque Ensemble, which was billed as vibrant and innovative and certainly impressed.

Review by Elizabeth Bouman

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RNZ MUSIC

Going for Baroque in the South Island.

https://www.rnz.co.nz/concert/programmes/three-to-seven/audio/2018923849/going-for-baroque-in-the-south-island

 

From Three to Seven, 4:00 pm on 29 January 2024

In the early 2000s Tomas Hurnik had a serious problem.

He'd fallen in love with New Zealand, especially the South Island, but the Czech cellist had also fallen in love with Baroque music played on period instruments. Somehow, he's managed to marry the two. These days you'll find him based in Christchurch where he's set up a trust dedicated not only to playing music on period instruments, but importing those instruments into New Zealand.

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Hurnik joined the Christchurch Symphony orchestra as an associate principal, but despite the city, and indeed the country, lacking fellow baroque instrument fans his interest didn’t fade. Instead, he set out to create his own baroque scene, starting in 2010 when he invited former Czech colleague Edita Keglerova (harpsichord) to join him for a tour of the South Island. Several other South Island tours followed until in 2015 Tomas set up The Baroque Music Community and Educational Trust of New Zealand. The trust remains focused on promoting a love a baroque and period instruments across the South Island. 

In 2021 Tomas left his position with the Christchurch Orchestra, instead deciding to increase his focus on the trust and teach Chamber Music.  Throughout his interview with Bryan Crump Hurnik’s love of period instruments shines. But what exactly is a period instrument? One major difference are the strings, metal for the modern, horse gut for the Baroque. 

Then there's the frame.“A period cello is the same shape as a modern instrument, but a baroque cello doesn’t have an end pin [Spike] or as much of an angle on the neck”.

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This lack of an end pin means the player must balance the instrument on their lap whilst playing, a real test of not just their musical prowess, but also their muscles.

Sounds like a lot of extra work, but Hurnik loves the range and subtle effects he can get on his Baroque model with its horse gut strings. Baroque instruments are not easy to come by in Aotearoa. Hurnik gives a shout out to the countries only baroque instrument maker Hanna Krause, before revealing that budget constraints require him to use an unlikely source – AliExpress, where he's been able to buy high quality instruments for as little as $800.  Crump is a little surprised to hear China is now making period Baroque instruments, does Hurnik know who's making them? Not yet, probably a Chinese manufacturer, he replies, but he's certain of one thing; they're great value for money.

 

Hurnik and The Baroque Music Community and Educational Trust of New Zealand kick off a ten date South Island tour next week (February 5th ) in Timaru before winding up back in Christchurch on February 17th. Tickets are available now. 

​"Very great honour and glory to the members of this ensemble, and to their inspirational teachers over the duration, violinist Mark Menzies and ‘cellist Tomas Hurnik, their leadership and encouragement here wrought of magic."

                                          - Peter Mechen Middle C

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Vibrant Concerti Grossi old and new light up a refurbished Old St.Paul’s in Thorndon

Posted on 16/02/2021 by Peter Mechen

https://middle-c.org/2021/02/vibrant-concerti-grossi-old-and-new-light-up-a-refurbished-old-st-pauls-in-thorndon/

Baroque Music Community and Educational Trust of NZ, in partnership with University of Canterbury Music presents:
NEW BAROQUE GENERATION
Concerti Grossi by M-A CHARPENTIER, TORELLI, VIVALDI, CORELLI, HANDEL and RAKUTO KURANO

Mark Menzies – Solo Violin / Tomas Hurnik – Solo ‘Cello
Ensemble of participants in Baroque Music Workshop 2021
Rakuto Kurano, Ashley Leng, Leo Liu, Henry Nicholson, Jack Tyler, Thomas Bedggood (violins)
Rebecca Harris (viola) / Daniel Ng (cello) / Frederick Bohan-Dyke, Oliver Jenks (harpsichord)

Old St.Paul’s, Thorndon, Wellington

Monday, 16th February, 2021

I was thrilled beyond words when told that this concert would take place in the breathtakingly beautiful Old St/ Paul’s Church in Thorndon, a building which extensive earthquake-strengthening renovations had closed to the public for so long! So for me it was like greeting an old friend when walking through the church’s entranceway for the New Baroque Generation’s Wellington concert, one which concluded the ensemble’s enterprising “11 concerts in 16 days” tour of the country.

This initiative, set up by the Baroque Music Community and Educational Trust along with the University of Canterbury Music included an intensive week-long workshop on baroque instrumental practices as well as the aforementioned concert tour. At the forefront of the project were two well-known professional musicians – violinist Mark Menzies and Czech baroque specialist and cellist, Tomas Hurnik – under whose guidance the musicians who attended the workshop were able to put their newly-honed skills into practice over the duration.

The concert included a new work especially commissioned for the tour, one specifically designed for the project, a neo-baroque work by emerging composer Rakuto Kurano, a violinist in the touring ensemble. The work formed the finale of a concert devoted to that most baroque of all musical forms, the Concerto Grosso, of which we heard various representative examples from that “era”. Apart from Rakuto Kurano’s splendid work, the one which surprised me the most was by Marc-Antoine Charpentier (1643-1704), a composer I’d hitherto associated almost exclusively with vocal works.

Basically a “Concerto Grosso” features a small grouping of instruments interacting with a larger ensemble, instead of a single instrument being pitted against an orchestra in a standard “concerto”. My introduction to the “Concerto Grosso” form was via Handel on a 1967 set of Decca recordings made by the then world-famous Academy of St.Martin-in-the-Fields, under the leadership of Neville Marriner – such a delight! – and not least due to Handel’s freely “borrowing” from his own music, some of which I already knew. In his Op. 6 set of 12 Concerti Grossi, for instance,  No.9 (HWV 327) and No.11 (HWV 329) both contained delightful reworkings of parts of the composer’s organ concerti, most prominently the famous “Cuckoo and the Nightingale” Concerto (HWV 295).

We did get some Handel in this evening’s presentation, one of those Op.6 Concerti, though, alas, not either of those already referred to. Instead we got the first of the set, No. 1 in G Major (HWV 319), for which the composer again “poached” some of his previous music, an Overture from one of his “Italian” operas, Imeneo, as well as freely imitating passages in one of fellow-composer Domenico Scarlatti’s newly-published “Harpsichord Exercises”. Handel’s work came as the penultimate item on the programme, a kind of “state-of-the-art” example of a Baroque form.

I made a lot of performance notes in the “heat of the listening moment”, which would be too tiresome for anybody to read in full afterwards, so will attempt to summarise my impressions – of the Handel, I thought the opening “A tempo giusto” beautifully sounded, the terracing of dynamics  between the duetting violins and the ensemble exquisite – then, in the “Arrival of the Queen of Sheba-like” Allegro which followed, I thought the players amply demonstrated in places that Handel seemed almost to have invented the “Mannheim Crescendo” before the musicians of that august ensemble did! I loved the detailings in the Adagio, such as the elaborate trills which introduced some of the cadences; and relished the different trajectories of the two concluding Allegro sections, the second one particularly exuberant, with plenty of “joicks! – tally-ho!” kind of stuff, thankfully with no horses, hounds or unfortunate fox present!

Of course, I have things the wrong way round, here, as the concert opened with the M-A Charpentier work, the H.545 “Concert pour 4 parties de violes” – two Preludes, each as shapely and flowing as the other, played in the “authentic” manner with little vibrato, but not without warmth and expression, and plenty of dynamic variation. The following Sarabande took our sensibilities to solemn, thoughtful realms at the outset, the Trio section (2 violins and ‘cello) alternating with the ripieno (the full ensemble), with a sweetly-toned piano conclusion. By contrast the Gigues gave off terrific energies, first the “Angloise” in ¾ time, contrasting with the “Francois” in common time, the whole ceremonially rounded by the concluding “Passecaille”, varying the textures between trios of instruments and full band, before concluding the work with a hushed version of the theme – so very lovely!

The works followed one another in more-or-less chronological order, Giuseppe Torelli’s “Concerto musicale a quattro in G Major Op.6, No. 1”, niftily throwing the figurations about in lively fashion at the beginning before calling order with a winsome Adagio sequence. I felt the music-making already had hit its stride in terms of a “naturalness” of utterance with the succeeding Allegro, nothing being “forced” or “squeezed”, the energies always expressive and properly “breathed”.  The first violin’s floridly-expressed decoration of the Adagio seemed to grow naturally from what had come before, transforming into a more energetic but still graceful Allegro movement, and seemingly to gather energy as it proceeded, until a wry, almost mischievous softer postlude ended the work.

While not named as a “Concerto Grosso” Antonio Vivaldi’s “Concerto in B-flat for violin, ‘cello and strings RV 547” featured the violin and cello soloists as both collaborators and combatants, with great teamwork from the pair alternating trenchant and exciting exchanges, each player relishing the dynamic variation of his line both when interlocked with the other’s and when solo – so exciting! The slow movement brought out more co-operation than competition, each instrument seeming to “listen” to the other in an affecting way; while the finale seemed like a kind of “anything you can do I can do as well/better” kind of interchange, the violin in particular “digging in” during a central trenchant section, before both instruments surrendered to the sheer elan of the massed tutti ending!

Arcangelo Corelli, generally acknowledged as the “master“ of the concerto grosso form produced his set of 12 works in 1714 some years after they were actually written – in an “imitation is the sincerest form of flattery” kind of gesture, Handel subsequently brought out his own set of works directly modelled on Corelli’s, effectively “bringing to fruition” the form, with younger composers already beginning to move towards the solo concerto and the sinfonia concertante kind of work. As we got from Handel’s Op.6,  we were given the first of Corelli’s set, No. 1 in D Major, a beautifully rich ceremonial Largo opening, the Allegro sections that  followed interspersed with the return of the slower music. The Largo that followed had beautiful “birdsong” elements in the figurations, which suddenly scampered off in “edge-of-the-seat” style, as if dancing on the edge of a precipice, the playing somehow conveying a whiff of dangerous excitement! The solo violin began the opening of the ensuing Adagio with the second violin attractively imitating, echo-wise, the phrases, and the cello steadfastedly counterpointing the progressions. What really delighted our sensibilities was the final Allegro, the two solo violins in thirds excitingly dashing away at the  music’s beginning, relishing the interplay between each other and with the ripieno strings, and turning to the audience as if “bringing us in” to add our breathed “Amens” to the final phrases!

At the conclusion of the already-described Handel work, we were given what promised to be the evening’s most thought-provoking work – a Concerto Grosso commissioned from one of the ensemble’s violinists, Rakuto Kurano. I wasn’t prepared for what seemed like the work’s complete absorption of the historical concerto grosso form but straightaway with its own distinction, the introduction tempestuous and arresting (almost “sturm und drang” in its mood), succeeded by a poised, breath-catching series of quiet gestures, the solo violin adding some stratospheric decoration to the line, then plunging into a fugue, hair-raisingly active and with some terrific dove-tailing gestures to boot! The Fourth section, Grave, sounded gorgeous, steadily-moving chords over which the two solo violins elaborated, bringing the solo cello briefly into the argument at the end. A boisterous Allegro gave the two violins a fine “duelling” sequence, the supporting players either dashing round about or soaring away with their own flights of fancy. The Adagio which followed was  a kind of freeze-frame or slow-interlude in a motion picture, and with the harpsichord, so discreetly balanced to a fault throughout the evening, allowed a brief moment of soloistic glory! The Allegro Vivace that followed – a boisterous, percussive dance, complete with tambourine – primed us up for the brief but exhilarating “The Birds”, antiphonal dialogues pithy but hair-raising! The Finale, energetic and involving, concluded with a trenchant tutti  that “grounded” the sounds in a satisfyingly conclusive way – a gesture of unequivocal and inspiring surety.

A brief encore piece was, I was told, Luigi Boccherini’s “Night music from the streets of Madrid” – if “more Courtenay Place than Thorndon” at that hour, it certainly returned us to our lives, and prompted more of the same enthusiasm and enjoyment. Very great honour and glory to the members of this ensemble, and to their inspirational teachers over the duration, violinist Mark Menzies and ‘cellist Tomas Hurnik, their leadership and encouragement here wrought of magic.

 

Posted in Reviews - Concerts Tagged baroque music, contemporary music, New Zealand music, string ensemble Leave a comment

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"Very precise moves, slow and sensuous or cautiously frivolous, but proudly elegant at all times."

                                                                                                - Otago Daily Times

 

The Baroque Community and Educational Trust of New Zealand presented a recital last evening in St Paul’s Cathedral, Dunedin, as part of its  South Island tour, writes Elizabeth Bouman.

 

The twilight ambience of the venue fitted the mood and character of the recital and excellent clarity of sound and movement was enjoyed by a small but appreciative audience. 

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Baroque music, particularly secular forms traditionally adhered to the metre and character of various dances of the time, and the programme was enhanced by dancing from international Baroque period dance specialist Mareike Greb (Germany). Authentic 17th  century costuming added to the performance and her elegance and graceful routines were delightful. She also compered the recital.

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A Telemann  Overture in A Minor  opened the programme followed by his trio sonata  Les Corelizantes No. 6.  Next was a Corelli trio sonata  (D Minor Op.4 No. 8) , highlighted by the dancer’s Italian/Spanish interpretation of Court political inference and romantic innuendos. Very precise moves, slow and sensuous or cautiously frivolous, but proudly elegant at all times. 

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Vivaldi’s  Double Concerto in A Minor RV522  with its forward-moving energised passages was a highlight, as was a harpsichord concerto by Domenico Paradies, when nimble fingers launched endless sequential chains with virtuosic keyboard flair. 

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A short dance piece depicting a drunken female sailor  La Matelotte  by Marin Marais was amusingly illustrated by exaggerated inebriated footwork.  The final work of 14  short movements was a virtual compendium of Baroque dance. 

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The quartet comprised Edita Keglerova (harpsichord), Szabolcs Illes and Jonathan Tanner (Baroque violins) and Tomas Hurnik (Baroque cello). 

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Reviewed by Elizabeth Bouman

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The Beautiful World of Baroque Music and Dance

St Paul’s Cathedral, Thursday, February 15 

 

"The five musicians managed a very impressive performance with remarkable tempi, unique in many ways for the individuality of single "voices'', particularly virtuosic input from Illes (violin soloist).   

                                                                  - Otago Daily

 

A good-sized audience in St Paul's Cathedral on Saturday evening was treated to a recital of music by the Baroque composer Antonio Vivaldi (1678-1741), performed on authentic period instruments by Szabolcs Illes (Hungary), Edita Keglerova (Czech Republic), Tomas Hurnik, Jonathan Tanner and Shelly Wilkinson.

 

The recital began with three Vivaldi short concerti, before the performance of his best known work Four Seasons. It was quite special to hear these works performed by such skilled instrumentalists. The vast acoustics of the venue did not detract from the delivery, although at times the harpsicord sound did not carry well.

 

Alla Rusitca RV 151 was a short three-movement work in similar vein to Four Seasons, and based on Dunedin's January seasonal weather could well have been included as an optional fifth movement for that masterpiece! Convincing statements with echoed repeats, well-defined cello passages and a feeling of lyricism highlighted the contrapuntal spirit in Triple Concerto RV 554a.

 

Concerto in D major RV 121 opened with a movement of robust unison statements and subtle affirmation, before a contrasting brief Adagio crammed with suspensions and resolved dissonance. The final Allegro raced away with bright capricious passages - so typically Vivaldi.

Lines of poetry added to the original score by Vivaldi were read before movements of Four Seasons, alerting the listener to brilliant bird-like solos, shepherds' pipes, wasps and storms. The five musicians managed a very impressive performance with remarkable tempi, unique in many ways for the individuality of single "voices'', particularly virtuosic input from Illes (violin soloist). 

Saturday's performance gave distinct clarity to the conversational character, sequential definition and changing moods of nature's four seasons.

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Reviewed by Elizabeth Bouman

 

"This concert was a rare treat for Nelson, truly an enchanting evening."

        - Nelson Mail

 

An enticing aspect of this concert was the invitation it offered to step through the door of the 21st century into the 15th and 16th with music played on authentic instruments of the period by five outstanding musicians.

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Baroque music tends to be associated almost exclusively with its two most well-known exponents, Bach and Handel, and a delightful aspect of this concert was the inclusion of work by so many lesser known luminaries such as Frescobaldi, Mascitti and Rosenmuller, which allowed for a broad appreciation of the era’s music.

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There is rarely as compelling a sound as the haunting tone of the cello and the opening Cello Sonata in C Major by Jacchini set a rich musical atmosphere. Cellist Tomas Hurnik certainly knows how to make this instrument sing and this gave a depth and solidity to the music. His playing during ‘‘Affetuoso’’ from Geminiani’s Cello Sonata in C major was an exquisite example of fine tonality and musical skill.

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Jonathan Le Cocq, a master of the Baroque guitar and Theorbo, gave a masterful performance throughout and delighted the audience with his rendition of Canario by de Murcia which would have inspired even the most professional guitarist.

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Douglas Mews is a world class exponent of the harpsichord which he showed to full capacity throughout. His performance of Handel’s Suite No.2 was spellbinding.

 

Shelley Wilkinson, an experienced performer of the Baroque violin, made it sing effortlessly throughout.

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Pepe Becker completed the ensemble with her stunning soprano voice that soared in the fine Nelson Cathedral acoustics in works by Monteverdi, Purcell and Handel.

 

This concert was a rare treat for Nelson, truly an enchanting evening.

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Reviewed by Adrienne Matthews

 

"Vivaldi takes Nelson through all seasons in one day."

        - Nelson Mail

 

Solo violinist Szabolcs Illes from Hungary.

Baroque music is coming to Nelson with a recital of Vivaldi’s famous Four Seasons.

Comprising five musicians, the tour has concerts in cathedrals and churches all over the South Island, including Christchurch and Dunedin.

Organizer Michelle Hurnik said all of the music was being played on period instruments, making the sound more ‘‘subtle and more direct’’.

The programme consists of Vivaldi’s Four Seasons, Concerto Alla Rusitca RV 151, Triple Concerto RV 554a for violin, cello and harpsichord and Concerto in D major RV 121.

Two of the five musicians are from Europe; solo violinist Szabolcs Illes from Hungary and harpsichordist Edita Keglerova from the Czech Republic.

From Christchurch there is cellist Tomas Hurnik and violinist Jonathan Tanner and violist Shelley Wilkinson is from Auckland.

Hurnik said the musicians had studied baroque music and authentic interpretation.

‘‘It’s just beautiful music, really gorgeous and the Four Seasons most people know.’’

The soloist for the evening is Illes, who studied with famous baroque violinists such as Enrico Gatti, Marinett Troost, Lucy van Dael and Simon Standage.

Since 2008, he has been a concertmaster of the Hof-Musici orchestra which is primarily working on the reconstruction and presentation of baroque operas with authentic instruments, costumes and original settings.

Hurnik said all the concerts were held in churches and cathedrals to make the most of the sound with good acoustics.

‘‘What is special about New Zealand is that we have a cathedral with amazing sound in every place.

‘‘It’s lovely to pair up European music with the New Zealand architecture, and have it work so beautifully.’’

Vivaldi – Four Seasons presented by The Baroque Music Community and Educational Trust of New Zealand at Nelson Christ Church Cathedral on February 19 at 2pm. Tickets $45 for adults, $35 for seniors, $20 for students and $5 for children.

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"The music itself is subtle - the beauty is quite amazing."

          - Mountain Scene - Voice of Queenstown

 

A rare chance to hear baroque music as it would sound when composed 400 years ago comes to Queenstown tonight.

Tomas Hurnik, associate cello principal with Christchurch Symphony Orchestra (CSO) brings a South Island Concert Tour to St Peter's Church.

Czech Hurnik is joined by Hungarian violinist Szabolcs Illes, a Czech harpsichord player Edita Keglerova and CSO violinist Phillippa Lodge.

They'll be playing period instruments in a period setting.

Hurnik says:"We play 415 hz (pitch) on gut strings - a completely different sound. I have a fascination with that sound. I was captured by it when my teacher introduced me to it aged 14-there's something magical about it. The period instruments compared with the modern ones are not so loud but because we're using a lower pitch, generally 415 which is a half tone lower, then the instrument is not under the same stress. So it has much more eloquence and a bigger range of harmonics. Its more colorful."

Hurnik explains Baroque music was written for venues with specific acoustics, usually churches or palace rooms.

"Once we use the gut strings we need the space for it to vibrate and mix the sound together," he says.

"The music itself is subtle - the beauty is quite amazing".

The concert will include trio sonatas composed by the likes of Handel, Purcell, Corelli, Gemininani and the more obscure Marini and Uccellini.

Hurnik:"(The term) trio sonatas is sometimes confusing because we are four - it means three voices, so two melodic and one bass line. With us, the bass line is played by two instruments, by harpsichord and cello."

The harpsichord itself, on loan from Canterbury University, is so sensitive it must be tuned before each concert and left in the venue for hours beforehand to acclimatize.

Hurnik, who spent a week rehearsing with the others for the tour, says the concert will trace the historical progression of baroque music through its period, from 1600 to 1750.

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By Paul Taylor

 

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