For more than half a century, the Dunedin Symphony Orchestra and the University of Otago have worked together, making the university's 150th anniversary the perfect time to celebrate the relationship, orchestra general manager Philippa Harris says.
''The extraordinary musical talent that has emanated from the university and the crucial contribution these musicians have made to the orchestra goes back to the start of the orchestra and continues to this day; it richly deserves celebration.''
As a result, the orchestra has designed its 2019 concert series around celebrating musical talent with former students Anna Leese, Emma Fraser, Joel Amosa and Tecwyn Evans and staff members Anthony Ritchie, Peter Adams and Heleen de Plessis all involved.
''The orchestra provides many music lecturers and students with performance opportunities as conductors, composers, soloists or as part of the orchestra such as the DSO's Concertmaster is the university's violin lecturer.''
The orchestra provides performance students with experience working with the DSO's conductors and soloists.
''This experience is absolutely crucial if they wish to pursue a career as orchestral musicians.''
University of Otago pro-vice-chancellor humanities Prof Tony Ballantyne said having the DSO was very important for the city, but also for the School of Performing Arts.
''It provides excellent opportunities for our students, graduates, and staff.''
The construction of the new recording studio and refurbishment of teaching spaces on the East Campus - where the School of Performing Arts will relocate in 2020 - and several joint educational projects, such as masterclasses and pre-concert talks are further extending that commitment, he says.
We asked several University of Otago staff members and former students about the relationship between the university and the orchestra and what memories they have of performing with the DSO.
- In what ways has the close relationship between the university and orchestra been important for you?
- What memory stands out for you performing with orchestra?
Tecywn Evans.
Tecwyn Evans
University of Otago graduate and former composer in residence with DSO
Performance: Tecwyn, Terence and Tom Celebrating Matariki
1. My conducting debut with them (DSO) was in June 1997. It's always been important and enjoyable for me to return home to the place that gave me great opportunity as young composer/conductor to continue to work with friends old and new.
It doesn't matter if it's an orchestra or opera house in Europe, the job for me is the same, but the people in front of me are different so there's always something very special about working at home in Dunedin.
2. It's tough to isolate something that stands out above the others. The benefit concert I had in 1997 to raise money for my studies in the US, where the orchestra played for free, is an evening that was very unique. Also the same year Nicholas Braithwaite conducting my Symphony - Organ was hugely significant.
The opportunity to give the world premiere of Anthony Ritchie's Violin Concerto is also a stand-out feature. Anthony has become a good colleague and collaborator in the years since he was one of my composition tutors at university.
Anna Leese.
Anna Leese
Honours graduate of Otago in Performance Voice (2002), now voice teaching in the same department
Performance: From the Southern Marches, Tally Ho! 3
1. As a student I was invited to perform with the DSO a couple of times. Something that, now that I look back on it, is a pretty rare occurrence for a student. I was really lucky and I'm sure it was opportunities like that which helped me grow as a performer, and gave me an edge against my peers (many much more advanced than me but having not had nearly as much orchestral experience) when I went to London to continue my studies.
2. I'm lucky to be invited to sing regularly with the DSO, and so I have many memorable experiences. Two which are particularly special have been the first Tally Ho concert - Roy Colbert was still with us to see the fruit of his hare-brained schemes! - and the risks we all took clearly paid off as here we are for the third edition.
The second was the premiere of Anthony Ritchie's Gallipoli to the Somme, with Simon Over at the helm and my good friend Martin Snell singing the role of the soldier. It was very special for me to be asked to sing the very first performance of such a large and important work - and the occasion held great emotional significance for me as well, being one of my first performances following my husband's MND diagnosis, shortly followed by the birth of our son. I won't ever forget how much strength I had to summon to be able to sing about that, at that time.
Heleen Du Plessis.
Heleen Du Plessis
Professional Practice Fellow, I am lecturing in cello, pedagogy of music teaching and music theory at the music department of the University of Otago and as principal cellist of the DSO for the international concert series.
Performance: Strings To Their Bows
1. One can compare the importance of the relationship between the university music department and the orchestra to that of the medical department and the hospital. In order to teach at tertiary level, lecturers must be research active and also be practitioners in their field.
They act as role models for students, not only of their own instrument but for aspiring musicians in general and often give them on-the-job training, as many of our students play in the orchestra where they get experience and can apply what they are taught.
The orchestra provides an essential part of the research environment in which staff and students learn and teach. On the other hand, professional musicians related to the university provide the orchestra with strong leadership positions and advanced students that enhances the level of the orchestra.
Together they form a strong partnership in the advancement of arts and culture in Dunedin and on the South Island.
2. A tour to Japan. It was a wonderful cultural exchange and connection. Classical music is flourishing there, sought after, highly regarded and valued. It meant a lot to the players, but also to Dunedin, for the exposure it created.
Peter Adams.
Peter Adams
Associate professor of music at Otago University and has guest-conducted the DSO
Performance: Tecwyn, Terrance and Tom Celebrating Matariki; Tally Ho! 3
1. As an undergraduate student in the late 1970s I played clarinet in the then Dunedin Civic Orchestra and have played occasionally with the Dunedin orchestra up until a couple of years ago. My conducting relationship with the orchestra began in 1986 when I was musical director of the City Choir and I did many concerts with the choir and orchestra combined for the next 10 years.
My professional conducting activities have been a major part of my professional practice activities as a university lecturer so there is a symbiotic relationship between the orchestra and the university in my case. The orchestra relies on staff and students to be playing members (and audience), and the university and the city relies on the orchestra to provide us with great live classical music, so it's really important that we proactively maintain this close relationship.
2. Conducting Trevor Coleman's hour-long Equator Suite with a click track in my ears via headphones and a video monitor on my stand beside the music. The public saw images on a huge screen above the orchestra. The music had time signatures in 7 and 11 (none of your 4/4 common time!) and some parts of the music were so complicated that we had a second conductor (David Burchell) in the gallery to keep the choir synchronised! It all came off and a packed town hall loved it.
Joel Amosa
Otago Graduate with bachelor of music and a postgrad diploma in music, performance voice
Performance: From the Southern Marches
1. I have always been in awe of how the orchestra opened its arms to Uni students. Both instrumentalists and vocal solos/groups. This is something that takes us to the next level, singing with an orchestra gives me that added boost I was never sure was there. It's important to have this as it improves your stage presence, confidence and overall performance.
2. In 2013 I debuted with the then Southern Sinfonia (now DSO) as the bass soloist for Mozart's Mass in C Minor. Alongside was Anna Leese, Emma Fraser And Ben Madden. A moment I'll remember forever.
Alison Bowcott
Alison Bowcott
Viola player in DSO and player representative on the DSO Board, graduate of the University of Otago
Performance: The Concert Series
1. I think the most important part of the close for me has been the compositions we are able to play in the orchestra, that are composed or arranged by the music department staff. Right from the days of Jack Speirs in the late 1960s to today's Anthony Ritchie, we have been fortunate to have a wealth of compositions available to us. And that includes Graeme Downes' Tally Ho arrangements, that give the orchestra a chance to step out of the classical realm.
2. Working with the late Jack Speirs is a stand-out memory for me, as he was always a great supporter of young players in Dunedin through the music department, music schools in the city and the Dunedin Civic Orchestra (as it was in the 1970s).
Anthony Ritchie
Anthony Ritchie
Prof of Music, head of the music programme in the School of Performing Arts, composer, university representative on the DSO board.
Performance: From the Southern Marches
1. As a composer it has allowed me to develop my craft enormously over the years, and provided me with other experiences, such as conducting schools concerts. I have also valued relationships with the players and admin people - the orchestra is a wonderful network in itself, and of course a number of the players have taught our students.
2. I never played in the orchestra - I wish I was good enough on an instrument! I guess I still have strong memories of rehearsing my 1st symphony with conductor Bill Southgate in the old Carnegie Centre rehearsal venue (1994), where there was not much room, a lot of instruments and an enormous volume of sound! The whole experience was exhilarating for me.
Graeme Downes
Graeme Downes
Works at the University of Otago and past board member on the DSO
Performance: Tally Ho! 3
1. It's symbiotic in so many ways, from our staff and students performing in it, principal players of the orchestra on some instruments teaching our students, staff composers having their work played by the orchestra.
What the orchestra does is important for us and what we do is important to them.
2. I've only performed with the orchestra in the context of the Tally Ho concerts. I think the smiles on the players' faces as they came off stage after the first one in 2015 having played to a full house and standing ovation.
Emma Fraser
Emma Fraser
Music and commerce graduate of the University of Otago and performer
Performance: From the Southern Marches
1. Learning to sing with a full orchestra as opposed to only a piano accompaniment is a very important lesson for a young singer. It is also so hard to get these opportunities when you are a student. If I had not had the many opportunities given to me by the orchestra during my studies, I would have not had the training required to enter the professional world. It really set me up for success for future stage performances as I entered my professional career in NZ and abroad.
The orchestra have always supported young singers at Otago University, something that is quite rare as most orchestras employ only professional singers and fly them in from another part of the country or overseas. Supporting students from the university is something the orchestra should be really proud of and I applaud them for getting behind young singers.
2. I have very much enjoyed every concert I have performed in with the orchestra, they are always so warm and welcoming which always calms the nerves! Plus I always enjoy the bonus performing in my home town, too.
To see
Details of the Dunedin Symphony Orchestra’s 2019 Concert Series can be found at www.dso.org.nz
