10 questions – Rose Campbell

What attracted you to this job?

Firstly it was the opportunity to work with a group of musicians whose work I have enjoyed and admired for years. When I heard the job had become available with the New Zealand String Quartet I was very excited, as I realised that here was an opportunity for me to combine a range of interests and skills I had developed over time into one package. To run a small business operation such as this means that you need to be versatile and be prepared to do pretty much everything which appeals to me.

Where were you working before you started with the Quartet?

I was with Creative New Zealand, where most recently I was managing the team responsible for delivering the contestable funding programmes, the Creative Communities Scheme and the Pacific Arts Committee’s work.

What did your work at Creative New Zealand involve?

I started working in the role of Music Adviser in September 2002 when Elizabeth Kerr was the Chief Executive. During the nine years I was with Creative New Zealand my role changed and developed as the organisation implemented a series of reviews in line with its strategic vision. During this time I gained a real appreciation not only for the huge commitment being made by artists and organisations across the board to keep the arts alive and well in New Zealand, but for the essential role that sponsors and other partners play in the equation.

What’s your own background in music?

I learned the piano and cello as a child and went on to complete a degree in performance music at Victoria University of Wellington where I studied piano with Judith Clark. From there I went into teaching in primary and secondary schools, then into the Advisory Service as a music adviser to schools, so music education was the key focus of my work for a significant period.

How would you describe your musical tastes now?

If you checked my iPod you would probably say wide-ranging and eclectic. While I love classical music in its many forms I would also not be without the huge range of influences from across the contemporary music scene. I also have a wide interest across the arts and design fields also. For that reason I’m really interested in the way the Quartet has been involved in so many interesting recent music and cross-arts collaborations and in how we might progress this further.

You were involved in an interesting project that delayed your start with the Quartet – can you tell us a little about that?

New Zealand’s exhibition in the 2011 Venice Biennale was by artist Michael Parekowhai and it included magnificent bronze works featuring grand pianos with Spanish bulls on top along with an intricately carved red Steinway piano. This piece was titled ‘He Korero Purakau mo Te Awanui O Te Motu: story of a New Zealand river’ and the piano was required to be played for the duration of the exhibition. Along with six or so other New Zealand pianists I played the piano for one of the four week shifts. I was there in the September to October period.

What repertoire did you play?

It was the artist’s idea that the pianists would be part of the artwork when they sat at the piano and it was up to each of us to decide what we wanted to play. I played a range of music ranging from the Baroque period and through the centuries to a very recent composition by Ross Harris. As you can imagine with seven hours to fill each day you just needed have plenty of variety to choose from. I have to say Douglas Lilburn’s piano music was always a pleasure to play in that setting.

What was the best part of this?

It was quite a remarkable experience to be playing the piano in a palazzo on the Grand Canal in Venice while people streamed through and the boats chugged past. However the best part was probably the effect the artwork’s live music element had on visitors to the exhibition. Their enjoyment of the work provided the motivation to keep playing. It was great to see the number of New Zealanders who came through the exhibition along with a fascinating range of international visitors. Campari spritzes at sunset, prosciutto and mozzarella pizzas along with icecream from the nearby square also topped the list of favourites.

What do you think is so special about chamber music?

I think it’s the up close and personal experience that draws us in. Chamber music affects us profoundly, because as listeners and musicians we are connecting through music on an intimate level. The musicians are continually striving to deliver an interpretation and a sound that engages the listener each time they perform and that’s the magic of the experience.

What is your vision for the Quartet as a new manager?

Firstly to consolidate the work of the previous five years, which has seen the Quartet grow their international presence, develop works and collaborations with other New Zealand composers and artists, and deliver an exceptional musical experience to our loyal audiences and sponsors. Diversification of our audience base is part of the long-term plan and we will be working on that over the next three years. The ongoing teaching and mentoring of the next generation of chamber music players underpins this vision along with our commitment to supporting the growth and development of chamber music in New Zealand.