Ingrid Martin, Conductor for 'Other Lands'

It’s the conductor’s job to work out the unique spirit of each orchestra and how to best inspire them. So I’m really excited to collaborate musically and to get to know the musicians of DSO.

This programme is a real melting pot of cultural influences - spanning very well-known works to those you’ve likely never heard. I particularly love introducing audiences and musicians to hidden gems that you’ll fall in love with.

I discovered Ruth Gipps’ Seascape a decade ago while studying for my masters degree. The colouristic possibilities that she explores using only wind instruments are mesmerising. The music is by turns rhapsodic and dance-like. The melodies given to the oboe and cor-anglais are particularly poignant, going straight to the heart.

Australian composer Betty Beath’s Lament for Victims of War is achingly beautiful and sorrowful. If you’ve been moved by Barber’s Adagio for Strings or Albinoni’s Adagio in the film Gallipoli, you’ll be touched deeply by this music. At a time when there is so much conflict in our world, this music gives us space for reflection and contemplation.

We also have three cornerstones of the repertoire from France, Germany and Spain. The Concierto de Aranjuez and Tombeau de Couperin are a wonderful effervescent, celebratory contrast to the darkness of the Beath. I’ve heard Karin Schaupp play the Rodrigo live several times and am thrilled to work with her to bring it to life.

Beethoven’s Symphony No. 1 was actually an audition piece for the NZ Assistant Conductor Position where I met DSO Concertmaster Tessa Petersen and Principal Guest Conductor James Judd. It seems a perfectly fitting work to now properly work together: a first symphony for our first musical collaboration!