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• Sound Barrier  Year: 2006 

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3343, 3310, harp, timp., 3 perc., strings, mezzo-soprano

In 1909 Alice Adcock, a lively and adventurous young woman from Manchester, was on her way to New Zealand. She was 23, and had recently developed TB, for which there was then no cure. Somehow she persuaded her widowed father to let her travel alone to the other side of the world in case a healthy climate would save her life. (It worked – she lived for another 50 years). The family kept her entertaining letter describing shipboard life, and a few postcards from her have also survived, but most of what we know about her time in New Zealand comes from her father’s letters to her, of which he kept copies, or from family tradition. On her arrival in New Zealand, Alice went into service, travelling widely, much to the consternation of her father. As housekeeper (and the only woman) on a farm in Makarora (a remote settlement on Lake Wanaka) she became pregnant to an unknown man, but was ‘rescued’ by marriage to a local farmer, Charles Pipson, shortly before the birth of her daughter. In 1911, her beloved father died; in 1912, Alice and Charles had a son and the following year, pregnant again, Alice took her children back to England to visit her family. Tragically, while she was away, her husband died suddenly of typhoid fever. Alice hurried back to Makarora to claim her inheritance, but left the two babies with her brother Sam and his wife (who were shortly to emigrate to New Zealand) and took only her eldest child, the illegitimate one, with her. This outraged her sisters-in-law, who saw it as an insult to their dead brother; they sent her away from the farm empty-handed. Once again she had to take a housekeeping job, this time in the North Island. In 1914, Alice and her brother’s family met up again, and Alice began a new life. (Fleur Adcock – abridged) The music of Alice is text-driven, ranging between a language at times extremely simple, as was the basic musical language of the settlers, and at times quite complex, evoking a storm at sea, or the unease of the settlers in a new environment, or Alice’s reaction to the problems which beset her. The piece is held together by various referential motifs. The initial idea, which perhaps suggests the instability of the sea, is also present in the bell-like sounds marking Charles’ death, music associated with a storm at sea is later associated with mental stress, while music suggestive of the movement of shipboard lice later underlies Alice’s traumatic encounter with her sisters-in-law.

There are eight sections, which often merge into one another: 1. in a letter to her father, Alice describes shipboard life; 2. in New Zealand, she compares her past life and hopes for the future; 3. a dialogue between father and daughter, expressed through their letters; 4. in Makarora, Alice discovers she is pregnant; 5. Alice hears of her father’s death; 6. in England, she learns of her husband’s death; 7. back in Makarora, Alice is turned away by her sisters-in-law; 8. turning her back on the South Island, Alice looks forward to her new life with her brother’s family in the north.

While writing this piece, I was drawn again and again into the thought that, although this is a true story, set in a particular place at a certain time, it has the resonances of a universal myth, known to all of us who live here. Our forebears, or we ourselves, have crossed the seas to begin a new life, with unforeseen and unimaginable difficulties and felicities, whether ten years, a century or a millennium or so ago.

• Whitehead: Alice; computer-set 

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• Whitehead: Alice; computer-set 

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• Whitehead: Alice; computer-set 

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• Gillian Whitehead: Alice; audio 

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• Whitehead: Quintet and Alice  

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• Gillian Whitehead: Alice 

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Originally called A Song of Tamatea, this work was revised in 2000 to become An Offering for Parihaka.

• Hamilton: A Song of Tamatea; facsimile 

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• Hamilton: An Offering for Parihaka; computer set 

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• Hamilton: An Offering for Parihaka; computer set 

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• David Hamilton: A Song of Tamatea 

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• Parihaka 

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• Fanfares for a New Millennium  Year: 2000 

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2222;4231;timp,perc(xylo,maracas,tri,ratch, guiro,tamb);strs.

This fanfare for full orchestra was “…refreshing… (Its) gradual thickening of layers of bird calls to abrasive Varesian dissonances near the end had a concise dramatic momentum and coherence.” lan Dando, NZ Listener. (It) “…begins with sounds that could only be New Zealand ones.” LCM Saunders, NZ Herald.

• de Castro-Robinson: Aurora; facsimile 

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• Eve de Castro-Robinson: Aurora 

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• Eve de Castro Robinson: Works 3 

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2222; 2231; timp., perc., strings

• Sinclair: Balfour & Paterson-A Dedication; computer-set 

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• NZ Works for Orchestra 

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• A Musical Six - Instrumental and orchestral works 

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2*2*2* (doubling alto sax. in E flat) 2; 2200; 2 perc.; guitar (amplified); strings. Percussion: tam tam, bass drum, large suspended cymbal, wind chimes,glockenspiel, xylophone, bongos, 2 woodblocks (large and small), drum kit (including suspended cymbal, bass drum, small tom tom

Coming to It was commissioned by the Wellington Sinfonia (now Vector Wellington Orchestra) to collaborate with Sam Hunt. The poems and music speak from the heart about the everyday issues and concerns of ordinary people. There are poems about mothers, fathers, lovers, children and dogs. The poems touch on life and death, and the title incidents between that on the surface seem insignificant but have meaning for those involved. The scene is set in the opening poem, Coming to It. Some of the music is bluesy in character, as in the Plateau Songs, and some is folksy in style, as in A White Gentian, where the guitar and flute play a duet. Occasionally the music specifically describes the text, as in the hammering, migraine-like You House the Moon.

• Remember Parihaka - orchestral music by Anthony Ritchie  Year: 2009 

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2222; 4231; 3 perc; hp; strings

• Margetic: Dubina; computer-set 

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• Karlo Margetic: Dubina; audio 

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• NZCT Discovery Concerts 2006 Study Guide CD  Year: 2005 

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3333; 4331; timpani, harp, 3 perc., strings

The state of humankind and the ecology of our planet are inseparably mirrored by each other. Paradoxically, we destroy natural homes to construct our own. What else are we to do? Time and the eco-cycle continue their relentless advance.

Daniel Stabler – 29 July 2002

• Stabler: eccco fantasy for orchestra; computer-set 

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• Stabler: eccco fantasy for orchestra; computer set 

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• NZ Works for Orchestra 

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• Daniel Stabler: eccco fantasy for orchestra 

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piccolo, flute, oboe, cor anglais, clarinet, bass clarinet, bassoon 1 and 2, 3 horns, 3 trumpets, 2 trombones, bass trombone, tuba, timpani, 2 percussionists (crash cymbals, suspended cymbals, roto-toms, claves, rain stick, vibraphone), harp, strings and narrator

“I enjoyed performing and recording Eulogy very much. Such a warmth of texture and harmonies which created a sympathetic palette for Olivia Macassey’s word painting” – Kenneth Young

My decision to set this text for orchestra initially arose, not only from reading the poem and appreciating it for what it is, but also from the recent passing of a dear musician colleague with whom I had collaborated on many early jazz projects.

However, at time of writing, I have become most un-nerved by the senseless loss of young life that has been occurring with alarming regularity at a couple of schools I have recently taught at. It was with these tremendously sad, sudden passings in mind that I completed my work on the piano short score of Eulogy, before commencing work on its orchestration.

Yvette Audain

• Audain: Eulogy; computer-set 

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• Audain: Eulogy; computer-set 

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• Two works by Yvette Audain 

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• The APO Composers' Workshop 2010 

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