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Welcome to Bach Musica NZ: Together in Music, our new online feature which showcases the talents of our fantastic vocal and instrumental soloists. Over the next 10 weeks, we will be bringing you exclusive videos made by our musicians, as they play pieces that they love, to bring you music that touches the soul at home. Whether or not we can perform for you in concert, we believe that music will always bring us together.

Week Ten: Barkin Sertkaya, Guitar

Capricho Arabe by F. Tarrega
Partita in D minor No. 2, Chaconne by J. S. Bach (arr. Barkin Sertkaya)

“Francisco Tarrega is a big name In Spanish classical guitar music. He is one of my favourite composers and to this day, you can still hear the tunes that he has composed. His music is a romantic period repertoire staple for the modern guitarist. Here, in the cosiest of Auckland homes and workshop of the Kiwi luthier Rod Capper with the Alhambra mural ornamenting the background, I’m performing the Capricho Arabe, one of Tarrega’s most loved masterworks.

The genius of J. S. Bach touched upon the lute as well. He has written works for the baroque lute and transposed his works for the instrument. I like to play Bach’s music with different approaches each time I practice his works. At times with strong articulations and a strict rhythm and other times, with rubatoesque flexibility and a lot of vibrato. Here is an arrangement of mine for his famous work, BWV 1004 Partita No. 2 in d-moll for Violin, with the accompaniment of native birds in the background."




Barkin Sertkaya is an internationally acclaimed guitarist and an academic. He performs frequently in New Zealand, directs the guitar studio at the University of Auckland – School of Music, and teaches in select schools in Auckland. He also lectured at the Bilkent University Faculty of Performing Arts and Music alongside his former teacher Prof. Kagan Korad and performed in numerous festivals and competitions throughout Europe. He holds more than a decade of experience in teaching in tertiary fields, while carrying out his career as a multi-instrumentalist with a specialization in classical guitar.
The unique repertoire he performs as a soloist includes J. S. Bach arrangements, Rodrigo, Dyens, Lobos, Romantic period guitar, and a contemporary Eastern European playlist of Bogdanovic, Bayraktar and Domeniconi that concentrates on Anatolian culturescapes.



Week Nine: Iain Tetley, Tenor

"Schöner Himmel, öffne dich!"
G. H. Stölzel

Schöner Himmel, öffne dich!    Open up, o beautiful heavens!
Wenn der Tod die Augen bricht   When through death my eyes grow dim
daß alsdenn mein Glaubenslicht   so that the light of my belief then
durch die lichte Öffnung blicke    peeks through the luminous opening
und mich auf dem Weg erquicke   strengthening me on my way
bis du ganz beseligst mich.     until I reach my full bliss in you.
Schöner Himmel, öffne dich!    Open up, o beautiful heavens!




Recording: Franco Viganoni
Photography: Hans Weichselbaum and Peter Jennings




Week Eight: Elizabeth Mandeno, Soprano

"I know that my redeemer liveth", Messiah
"V’adoro, pupille", Giulio Cesare
G. F. Handel

"These two pieces come from two works very special to me, both of which I performed in their entirety last year: one of the many gorgeous arias from Handel’s opera Giulio Cesare, and my favourite aria from the very famous and much-loved Messiah. I often find music from this era feels like coming home for my voice. As this was recorded in lockdown without access to a pianist or orchestra, I have used pre-recorded backing tracks for this performance – quite a venture out of my comfort zone! – but I still very much enjoyed creating this video for you."




Recording: James Dalton



Week Seven: Joel Amosa, Bass-Baritone

"But who may abide the day of his coming", Messiah, G. F. Handel
"Were you there", Negro Spiritual, H. T. Burleigh

"For as long as I’ve been singing, I have always felt a deep connection to sacred song, mass, hymns and spirituals. Everything in that category I just gravitate towards, and I feel a much more fulfilling performance at the end of it. My Christian faith and upbringing plays a huge part in who I am. So to be in a position to sing these biblical stories from Handel's Messiah, or Mendelssohn’s Elijah - I feel a strong sense of spreading the gospel. With negro spirituals, again, I go to another level of comfort and musicianship, and just want to tell the stories that can be felt deep down for the listener.
'But who may abide': traditionally sung by the Alto soloist, I love that in my debut with Bach Musica NZ, we performed Mozart’s Arrangement of this work and the Bass was able to sing this aria. It’s both calm, questioning and fiery. A great opening aria for any soloist.
'Were you there': this was one of the very first negro spirituals I learnt and performed. It has always had a close meaning to me, as do many other spirituals I perform."




Piano: Ludwig Treviranus



Week Six: Raeul Pierard, Cello

Suite in D major for solo Viola da Gamba (Prélude; Courante; Récit et Air Fugué; Menuet), G. Ph. Telemann.
The Flying Gardens, Andrew Perkins








Week Five: Anna Simmons, Soprano
Angus Simmons, Baritone

"The Infinite Shining Heavens", Vaughan Williams
"Frère! voyez!... Du gai soleil", J. Massenet
"Bei Männern", W.A. Mozart




Piano: David Kelly
Recording: Franco Viganoni




Week Four: Tony Yan Tong Chen, Piano

Prelude and Fugue No. 3, J.S. Bach
Petrarch Sonnet 104, F. Liszt

"Playing Bach for Bach Musica NZ seems like a cliche, but to me the relevance of Bach’s music can’t ever be overstated. Refusing to adopt the contenance angloise style of the emerging Classical period, he wasn’t as respected by his contemporaries as he was by later composers who rediscovered his work. His intricate counterpoint went on to inspire such great works in the piano literature such as in Beethoven’s late sonatas, Schubert’s Wanderer Fantasy, and Liszt’s Sonata - all of which contain fugal elements. The independence of several melodic voices in a fugue gives rise to a complex texture that evokes imagery and narratives that melody and accompaniment alone sometimes fail to do. Fugues can so beautifully capture the complexity of any topic a composer wishes to express."







Week Three: Alison Dunlop, Oboe

Songs without Words
Opus 19, No. 1 (for Oboe and Piano)
Opus 53, No. 22 (for Cor Anglais and Piano)
Opus 19, No. 4 (for Oboe D'amore and Piano)

F. Mendelssohn

"I was very much looking forward to playing my oboe d'amore, cor anglais and oboe in Bach Musica NZ's April scheduled performance of St Matthew Passion, but obviously that wasn't able to happen, so it's really nice to have this opportunity to perform a short piece on each of them. These Mendelssohn piano pieces are special to me as I remember learning to play them on the piano in my teens. My late Mum adored them and played them very well (I particularly remember her playing the Opus 19, No. 1), so I was delighted when I met David Walter from the Paris Conservatoire and discovered that he'd made these beautiful arrangements for oboe and piano."




Alison Dunlop is Principal Oboe with Bach Musica NZ ...



Week Two: Luca Manghi, Flute

Fantasy No. 10 in F# minor for solo flute, A tempo giusto - Presto - Moderato, G. Ph. Telemann

"This fantasy is one of a set of 12 fantasies for unaccompanied flute, which are an important part of the solo flute repertoire. Telemann composed a number of works for flute without bass, in which he achieved a convincing harmonic architecture using a melodic instrument. In the tenth fantasy, the flute plays both the melody and sketches in a bass line, which almost gives the impression of two instruments. The structure of the fantasy is free and improvisatory. Dynamics and phrasing are left to the player, who is able to use their personal taste with regard to articulation and ornamentation. I enjoy performing these works because they allow so much creativity and are a bit different every time I play them, and they are also very entertaining and musically rewarding for the audience."




Dr. Luca Manghi is Principal Flute with Bach Musica NZ ...



Week One: Yanghe Yu, Violin

Solo Sonata No. 3, Adagio, J. S Bach

"Bach’s Solo Sonata No. 3 is one of my all-time personal favourites, and this first movement, the Adagio, is such a unique piece which reminds me of the minimalist music of the 20th century. By creating a thoughtful harmonic line with such a repeated rhythm throughout the whole piece, this movement achieves some mysterious and powerful energy which can be observed in everything in our lives. Like all of Bach’s work, his music is not only about beauty, but also the truth of the universe."




Yanghe Yu is the Concertmaster of Bach Musica NZ...



Keep the music alive!

Music is more important now than ever. We would be most grateful for any donation towards supporting our talented musicians and our organization while we cannot perform. Donations qualify for a tax rebate.


Project funding

Bach Musica NZ: Together in Music has been made possible through the generous support of Creative NZ.

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