Student

WORKSHOP

Baroque Music Community and Educational
Trust of New Zealand

Baroque Workshop 2022

Baroque Music Community and Educational Trust of New Zealand
in cooperation with the University of Canterbury School of Music
invites you to apply to attend...


An intensive rehearsal and workshop focused on Baroque Music with a unique professional-development opportunity to participate in a follow-on 16-day concert tour of New Zealand, across a planned 11 concerts. Particularly suitable for tertiary-level students, the program is open to all aspiring profession-al-level string players.


The workshop and rehearsals are focused on the performance practice of core Baroque music repertoire, and will take place in Christchurch. The main work that will be studied and performed during this programme is Vivaldi’s Four Seasons. There are four soloist positions on violin that can be applied for, in addition to ‘Tutti’ roles. Tomas Hurnik and Mark Menzies, both internationally renown musicians with a wealth of baroque and performance experience, will be leading the workshop and will perform with the ensemble during the tour.


We intend to include in the programme the premiere of a specially written neo-baroque composition by Rakuto Kurano, a Christchurch based composer.


All travel expenses such as accommodation will be covered during the tour. Students are responsible for making their own way to Christchurch for the beginning of the workshop.
Each student will be provided a $60 ‘Per Diem’ allowance for each travel day during the tour to cover expenses. Please note that no Per Diem will be paid for the day of the Christchurch performanc
e

 

Dates


18th --21st January: Special workshop for the ‘Four Seasons’ soloists.
22nd January: Rest day for soloists (Rest of participants to arrive in CHCH this day)
23rd - 29th of January: Workshop
30th January: Special performance for children in Christchurch
31st January - 16th February: Concert Tour

 


Positions Available


The ensemble will consist of 7 violins, 2 violas, 2 cellos, 1 Theorboist, and 1 harpsichordist.
 

If you are applying for a ‘Tutti’ position in the ensemble you will be required to submit:
 

1) A video recording of a solo unaccompanied Baroque work, such as Bach. Please link to this files with the application form. A two-minute excerpt is sufficient. If linking to a longer video, please clearly state the time stamp you wish for us to evaluate on the application form.
 

If you would also like to be considered for one of the three remaining soloist roles in Vival-di’s ‘Four Seasons’ you must ALSO submit:
 

2) A 2m-5m video recording excerpt from the 3rd movement of either: ’Spring, Winter, Autumn, OR Summer’ from the ‘Four Seasons’
 

Applications due 15th of Nov 2021 submitted to: bmcetnz@gmail.com
 

For any questions please contact oliver@oliverjenks.com

 


 

 


Staff

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Internationally renowned cellist Tomas Hurnik is a resident of New Zealand, where he currently serves as Associate Principal Cellist of the Christchurch Symphony Orchestra. Hailing from the Czech republic, he has previously enjoyed a highly successful solo and chamber music career in Europe, and was appointed principal cello of the Malaysian Philharmonic in 1998, a post he held for four years. Well over a decade ago, following studies with baroque master Rainer Zipperling, Tomas established a major part of his career as a period instrument specialist, appearing with ensembles such Musica Florea, Capella Regia Prague, Musica Aeterna and Solamente Naturali. This led to the founding of the Baroque Music Community and Educational Trust of New Zealand in 2015, with the organization becoming a major contributor to the New Zealand music scene – offering concerts, workshops and masterclasses in baroque music and period-appropriate instrumental performance on a regular basis ever since.


Mark Menzies has established an important, world-wide reputation as a violist and violinist, pianist and composer. He has been described in the Los Angeles Times as an 'extraordinary musician' and a 'riveting violinist.' His career as a viola and violin virtuoso, chamber musician and pianist, conductor and advocate of contemporary music, has seen performances in Europe, Brazil, Mexico, Australia, Japan, New Zealand and across the United States, including a series of appearances at New York's Carnegie Hall.
 

His interest in performing on the baroque violin was encouraged by initial lessons and a masterclass with baroque violinist guru Elizabeth Bloomenstock in 2010, and since then he has maintained a fascination with period performance practice, regularly incorporating baroque and pre-baroque repertoire into recital programs, and in chamber music presentations, including with the Formalist Quartet, a Los Angeles-based string quartet of which Mark is founding member.
 

Since moving to New Zealand to take up the position of Professor of Music at the University of Canterbury in 2016, he has regularly collaborated with Tomas Hurnik and the Baroque Trust to present concerts in Christchurch and the South Island.

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Screenshot 2021-10-22 at 16-00-44 Baroque Summer Program 2022 - Baroque Summer Program 202


Oliver Jenks: Oliver has been Project Manager with the Baroque Music Trust for numerous projects since 2020. His project management experience coupled with his musical back-ground give him an ideal combination of skills to manage such projects. His past experience includes starting and successfully running his own company since age 18, as well his contract work experience managing/budgeting multiple projects for the Environment CanterburyCouncil.
 

Oliver successfully oversaw the first edition of this project to a great success last year. He will be present on the tour to supervise logistics, stage management and the wellbeing of the students.

Photos, Music and Feedback from 2021

Student Feedback

"It was a fascinating opportunity connecting with other great musicians and performing many concerts for this Baroque tour around New Zealand. There are so many intriguing sceneries and sparkling moments that I would never forget during this tour.  I have always been having a great interest in different performance method on Baroque instruments and Baroque music. When this opportunity comes up online, I decided to audition for it. The workshop was spectacular as it helped me grow my technique and Baroque performance style a lot! In an orchestra setting or school ensemble group, it is hard to get detailed individual tuition in terms of the tone colour, the performance style, and the correct bow strokes for different music genres. It is hard for teachers to give feedback individually as there are many people in an orchestra or a school ensemble group. However, everyone got a chance to share thoughts with and receive feedback from Tomas and Mark. I did feel I get to enjoy more and more as the tour went further. The memory of performing the first concert is still fresh in my mind because I remembered I was shaking and nervous throughout the concert. I was so afraid of making mistakes on the stage so that I would ruin it. Fortunately, it did not happen as everyone was very supportive. Mark and Tomas always encouraged us to enjoy the music on stage and not think about the mistakes we made during performances. As the concert tour came to the last stop in Wellington, I found out that I started to swing with the music, and I could present the baroque style more accurately. I had a great time travelling to different tourist spots with the group! Honestly, I have no requirement for accommodation. My goal was to learn something but not a holiday. I would love to share this wonderful experience with other potential student musicians because, in my opinion, everyone deserves to experience how a professional musician life is. Not only could it inform their knowledge of the Baroque music genre, but also it could provide them with a general idea of a travelling musician's life. I truly appreciate this opportunity, and I hope to have the chance to collaborate with you all again!"   Leo Liu

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Good Evening Tomas,

I am Sara and my mum forwarded me your email as she was in the email list initially. Thank you for the amazing experience of rehearsing and playing with a small baroque ensemble. It definitely is and will remain one of my best highlights of 2021. Below are my answers to your questions from your previous email. 1. My teacher, Jonathan recommended this workshop and I gladly accepted. 2. It was a very unique opportunity. I learned a lot from the tutors as well as other participants of the group. It was very different to playing in an orchestra because there were less players and every voice or part was equally important. In a way it was also different to a school ensemble as most people were more advanced and have more experience than my high school peers. 5. No, everything went smoothly and very similarly to what I expected. 6. Yes, one of the best things you can do as a student; play with others meanwhile having fun and also learn at the same time. So enjoyable. Thanks again and hope I'll have a chance to play with the group again.

Kind regards,

Sara

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Audience Feedback

"What a wonderful concert last night! I saw a friend there who is not a classical concert-goer at all, but was accompanying his father-in-law who said to me "The music just draws you in, this won't be my last concert". Rakuto Kurano's work was jaw-dropping in it's maturity, the Fugue being the absolute highlight for me. I can't wait for the next concert " Christine

"What a fabulous concert last night! I really enjoyed it, and the audience was really buzzing as they walked to their cars.

Your musicians were so professional and Rakuto Kurano was a star throughout the performance - his composition was a real hit and could have been written in the 1600’s!"

Kate Lovell

President

Wanaka Concert Society

"Last night here in Oamaru we had an energising brilliant concert from New Baroque- but what was truly notable is Rakuto Kurano's Concerto- as new NZ compositions go this ranks at least with

our musical greats- and for my money I have not ever enjoyed a new piece of work more-nor been unable to fault it for its compositional elements of technicality more than matched

by its rich beauty of genre: truly a 21st C work that shows the best of 17th endures, and maybe could even outshine!

All music lovers of all genres should not miss your remaining performances this next week in Timaru today/ then on through to West Coast, Nelson Welllington: we only had 50ish but it was an

engaged audience that spontaneously gave a standing ovation to Rakuto- as also the whole ensemble. A night to be remembered- and Mark assured me they will continue to return to Oamaru.

What great music does is unmatched therapy- New Baroque deserves all our accolades and patronage!"

Bruce