BY EMMA SULLIVAN
Read about Australian violinist Monique Lapins’ career to date, and you may be left feeling a little awe-struck.
Monique has studied and performed across Australia, Asia, and Europe and has already collaborated with some of the world’s best chamber musicians. Now in her third year with the New Zealand String Quartet, the artist is having a change from her usual position of second violin to instead lead the ensemble through its piano quintet tour.
Schubert’s much-loved Trout Piano Quintet in A Major is at the centre of NZSQ’s upcoming program, and is accompanied by a newly commissioned piano quintet by New Zealand composer Ross Harris.
The surrounding works have been selected to showcase the virtuosity of two superstar guest musicians – pianist Piers Lane features in Schubert’s Adagio and Rondo Concertante, and renowned double bassist Hiroshi Ikematsu will join NZSQ cellist Rolf Gjelsten for the Rossini Duo.
We caught up with Monique to hear her thoughts on the upcoming tour, what she loves about the Trout, and what is next for the NZSQ.
The centrepiece of your upcoming program is arguably one of the most celebrated works of chamber music of all time – Schubert’s iconic Trout Quintet. What do you think makes the Trout so special, and is there an added sense of responsibility when approaching such well-loved repertoire?
I have very fond memories listening to this piece when I was a teenager. On my stereo, I used to blast the first movement over and over again at home (to the neighbours’ dismay, I’m sure…). The A major flourish which opens the quintet filled me with such inextinguishable joy and excitement, and still does to this very day. One can almost feel the sun rays glistening down on Schubert composing this work as he roamed the foothills of the Austrian Alps, which he described as “inconceivably beautiful”.
In contrast, the famous Trout Theme and Variations was actually my alarm tone for many years, unfortunately…so it took a while to shake off the traumatic association of waking reluctantly in the morning.
Schubert’s instrumentation for piano, violin, viola, cello, and double bass was especially unusual during his time. But what is even more captivating is his use of key changes to highlight differing moods. Much of his musical material is simply repeated, but one’s ear is continually drawn to the new inflection of key – sometimes creating a warm and embracing feel, or often cheeky with light-hearted whimsy.
The greatest responsibility we have is to convey these musical stories always with liveliness and spontaneity for the audience.
For this tour, you are joined by two guest musicians – internationally renowned Australian pianist Piers Lane and double bass virtuoso Hiroshi Ikematsu. What are you looking forward to with this collaboration?
I’m thrilled to share this journey with quartet family Gillian Ansell and Rolf, and this bond makes it really easy and exciting to play with the legendary Piers and Hiroshi.
I grew up in Australia frequently watching Piers Lane’s stunningly beautiful performances (and colourful concert socks!). I look forward to meeting and playing with Hiroshi. I recently saw him perform for the first time with admiration when he stepped in to take up the familiar reigns of leading the New Zealand Symphony Orchestra’s bass section. His powerful musicality was obvious, and I have no doubt this will be a deeply gratifying tour.
Normally, you perform as second violinist with NZSQ – but the selected repertoire only requires one violin. How will your role in this program differ to usual?
It’s a role I’m quite familiar with from previous experience, but coming back to it with new insight from second fiddle has been a fascinating journey. I am also imprinted with inspiration from performances with my colleague Helene Pohl, who is the first violinist of the NZSQ. I really believe in being able to adapt to any role presented, and often echo the sentiments of my past teacher James Cuddeford: that one should be able to interchangeably play lead violin, second fiddle, and viola equally well. Each voice is so important in its own right, and requires a wide array of skills. I just need to learn double bass, piano, and cello to complete the cycle, in this case…
In homage to the Trout, your upcoming concerts feature a newly commissioned work for piano quintet by New Zealand composer Ross Harris, inspired by the New Zealand trout fishing rivers. What can audiences expect from this new work?
Ross Harris is undeniably one of New Zealand’s greatest living composers, and this work is a testament to the colours and landscapes he continually opens up for both performers and listeners. His piece is entitled Orowaru, which means the rippling sound of water.
Harris explains that his composition explores “the complex harmonic beauty of the rivers”. This strikes me as such a poignant feature in Harris’ writing – his ability to shape the sounds of nature into music. It’s also a journey through time programmatically. We perceive today’s rivers and trout fishing through Harris’ music; and step back in time about 200 years to hear Schubert’s inflections on a similar nature.
Prior to joining NZSQ, you performed in chamber ensembles and orchestras across Australia, Asia, and Europe. How are you finding the arts scene in New Zealand?
Endlessly fascinating. I’m living the dream, playing music with colleagues who literally live and breathe music. We are surrounded by inspiring faculty and wonderful students at the New Zealand School of Music in Wellington, where we are the resident string quartet.
New Zealand itself is full of incredible scenery which makes touring highly enjoyable. Living in Wellington reminds me of a miniature Melbourne – full of diverse arts, buzzing life and, most importantly, great coffee!
NZSQ maintains a very busy schedule, with regular national and international tours and a range of education initiatives. What other projects are you looking forward to after this tour?
It’s endless…I’m looking forward to our tour at the end of October, starting off in the United States and then to Europe. We are performing not only quartets, but also looking forward to collaborating with New Zealand pianist Nicola Melville, American violist James Dunham, British violist Ivo-Jan van der Werff, Canadian cellist Desmond Hoebig and the Tiberius Quartet from Romania, in addition to performances in Germany and the United Kingdom.
We are also coming close to sorting through applications for the 2019 Adams Summer School, where talented students are selected via audition to participate in a intensive week-long course on chamber music with NZSQ and a special guest pianist.
Finally, the upcoming Adams Chamber Music Festival is starting early next year, which will feature performances and collaborations with the Jerusalem String Quartet, Anthony Marwood, Dénes Várjon, many wonderful Australian friends, and more!
You can catch the NZSQ in concert until October 12 across New Zealand.
Emma Sullivan is a freelance double bass performer, educator, and writer of all things classical music.
Images supplied.
Excellent work my daughter. Much love Dad