Is it just me or is Justin DeHart everywhere at the moment? If it’s not some evil plan to take over the world – we’re almost certain it isn’t – it’s definitely a sustained attempt to introduce Aotearoa New Zealand to contemporary percussion music.
Since he arrived here in 2017 to teach at the University of Canterbury, few musicians have been more active, with a flurry of concerts – his own and with others – accompanying a selection of albums, including two last year to sit nicely beside 2012′s Grammy-nominated Rupa-Khandha, made when he was in the Los Angeles Percussion Quartet.
It’s all percussion music, but these efforts represent a huge array of styles and instruments. DeHart says this is what happens if you start out wanting to be a rock drummer but end up at music school, instead.
“My concept of percussion and drums just kept expanding. It included jazz and rock, but started including world percussion, hand drums, more avant-garde things. One of the challenges is that there are too many instruments that are cool and fun.”
Besides, DeHart says, rock drumming lost its appeal after one too many bar fights (patrons, not performers). The classical world is more decorous.
“I’m not sure there’s less drinking, but it seems to be less rowdy.”
He’ll test that theory in August and September when he conducts a six-date Chamber Music New Zealand tour with flautist Hannah Darroch. Darroch has just vacated the principal’s chair at Christchurch Symphony to become chief executive of SOUNZ Centre for New Zealand Music. Like DeHart, she is an advocate for contemporary compositions.
DeHart says, “New Zealand being as small as it is, it was lovely having a musician of [Darroch’s] calibre, and open-mindedness and exposure to new music.”
Their programme is scaffolded by three works: Lou Harrison’s First Concerto for Flute and Percussion; Toward the Sea by Tōru Takemitsu, for which DeHart will play marimba; and Kiwi Gareth Farr’s Kembang Suling, which has become a modern standard.
DeHart believes in supporting composers of this country, and as well as playing existing pieces like Kembang Suling, he has actively commissioned works. As you read this, he’ll have released yet another album, Towards Midnight: New Zealand Percussion Music Vol.2, featuring new music by Farr and others including John Psathas and Phil Dadson.
“Working with living composers, I love that process.” DeHart takes a beat. “Well, I don’t always love it. But I’m interested in investing in our time and the challenge of bringing music to life.”
The Darroch/DeHart Duo plays six centres from August 22 to September 12. See chambermusic.co.nz for details. Towards Midnight: New Zealand Percussion Music Vol.2 is out now on Rattle records.
