John Drawbridge The Concert (Vermeer with Matisse) courtesy of the Drawbridge Estate

RESTORATION is a group of musicians dedicated to exploring and bringing to life the music of the 17th and 18th centuries. They use historical instruments and playing styles to recreate the spirit of the baroque era, with its subtlety, flexibility, rhythmic energy and rhetorical inflections – a vivid and expressive language so different from that of our own time.

Restoration takes its name from that colourful era, the restoration of Charles II to the English throne in 1660 – the music of this time is central to the group’s repertoire, which extends from Purcell, Bach and Handel, to Haydn and Mozart and beyond. The name also suggests the art-restorer's process of revealing the original colours and dramatic impact of a treasured art-work.

Since returning to New Zealand from postgraduate study and professional experience overseas, founding members Bronwen Pugh and Robert Petre have worked for many years with local baroque specialists and visiting artists from the UK, Europe, USA, and Australia. They have toured throughout New Zealand, and appeared in festivals including the NZ International Festival of the Arts. They have also specialized in exploring the rich and intricate relationship of baroque dance and music, with local dancers and international experts, giving performances and workshops. They founded and directed St Pauls Baroque, an orchestra in residence at St Pauls Cathedral in Wellington, and they and many of their regular colleagues are members of NZ Barok, New Zealand’s baroque orchestra based in Auckland. Restoration’s recording of the complete Pièces de clavecin en concerts by Jean-Philippe Rameau was released to critical acclaim, and their CD, Musick al’Italliana, recorded in London for the Meridian label, was very well reviewed in both NZ and the UK.

‘One of our best national assets for historically aware and keenly researched musical performances’ (Radio NZ Concert The Critic’s Chair)

‘Unusual repertoire, authentic performance practice, fine musicians: an early music buff’s seventh heaven’ (Dominion Post)

‘Sounds of the utmost subtlety …Restoration have built up a large audience for their performances … audible sighs of musical satisfaction’ (Dominion Post)

‘A very polished and accomplished concert … it was good to hear so much unfamiliar music so stylishly and enthusiastically performed’ (Music in New Zealand)

‘The intelligence and musical sensitivity of this group produced an evening of magical beauty’ (Christchurch Press)

‘An intriguingly planned concert, redolent with style and assurance’ (Music in New Zealand).

A note on the Drawbridge images

John Drawbridge is unquestionably one of New Zealand’s most significant and influential artists of the 20th century. His series of paintings and prints reworking images by 17th century European masters seems to us to resonate fittingly with our own work as New Zealand musicians exploring our heritage of 17th and 18th century European music. Both acknowledge the designs and techniques of the historical past and their influence on our art and culture in contemporary New Zealand. Restoration initially approached John Drawbridge in 1993 for permission to use his mezzotint The Concert (Vermeer with Matisse) in publicity material for our Voix et Violon programme. He kindly agreed, and even provided his own framed print for display in the foyer of the venue. We are grateful to Cameron Drawbridge and Tanya Ashken for their permissions, and for assistance with this ongoing connection

LUCINDA MOON baroque violin

LUCINDA MOON grew up in Australia, and has been based there since her return in 1995 from extensive study and performance in Europe. She also has an important connection with New Zealand and particularly Wellington, where she was born, and with New Zealand’s musical heritage. Her father, Donald Munro, founded the NZ Opera Company in 1954, and her mother, Jean McCartney, was principal viola in the Alex Lindsay String Orchestra and other ensembles. The family were close friends of Douglas Lilburn, who composed several works for Jean and Donald.

After graduating from the Victorian College of the Arts, Lucinda travelled to the Netherlands to study baroque violin with Sigiswald Kuijken at the Royal Conservatorium in The Hague. On her return to Australia she was appointed concertmaster of the Australian Brandenburg Orchestra, which she led through its national and international concert series and numerous recordings from 1995 to 2008. Currently based in Adelaide, Lucinda performs and records with Accademia Arcadia, the Elysium Ensemble, John O'Donnell, Latitude 37, Van Diemen’s Band, and is musical director of newly-formed Genesis Baroque. In 2017, Lucinda was guest director and soloist with NZ Barok as part of their Auckland concert series.

Lucinda’s playing is distinguished by a dedication to the historical style and soul of baroque music, a complete technical mastery, a most beautiful violin sound, and an understated approach that is yet wonderfully expressive. In recent years she has made a special study of the solo violin works of J.S. Bach and performed them in recitals in Australia and New Zealand to critical acclaim.

... Lucinda Moon’s complete understanding of the style, her command of phrasing and line, made absorbing listening ...

... Lucinda Moon’s playing is both deeply informed by scholarship and understanding of the style, while retaining spontaneity and freedom that reveals the improvisatory spirit in which much of this music was written ...

... In the hands of Lucinda Moon, the baroque violin is an instrument of seemingly limitless subtlety and freedom ...