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Jack Body  

14 Stations

Duration: 20' 00" Year: 2000
for amplified pianist

Gillian Whitehead  

Bright Silence

Duration: 08' 00" Year: 2000
for solo violin

David Hamilton  

Celebrate the Earth

 Year: 2000
a choral fanfare for mixed-voice choir (SAATBB), large orchestra and jazz band(s)

  • Programme Note

    The text for this work draws on ideas and images from a number of sources, ranging from contemporary poetry to the psalms of the bible. It is a son of celebration of the Earth and all its abundance. The initial form of the text was devised by Deirdre McOnie. The work is a joyous song of praise. More reflective music alternates with rhythmic writing. Throughout, the music makes much use of syncopation. “Celebrate the Earth” was originally written for an overseas competition whose theme was “A Celebration of Earth Day”. This revised and orchestrated version was written on a commission from Auckland Choral Society for their 2000 concert season. It was one of five choral fanfares commissioned for their subscription series. The concert for which this fanfare was written was to be a Bach 250th anniversary concert. the scoring is for Baroque orchestra including harpsichord and organ. Given the nature of the concert I couldn’t resist including a short reference to the BACH musical motive (B-flat – A – C – B natural in pitch terms). It appears in the brief organ solo towards the end of the work. “Celebrate the Earth!” is dedicated to the Auckland Choral Society and their conductor Peter Watts. Its commissioning was made possible by a grant from the Lottery Grants Board. The first performance took place on 24 March 2000 at Holy Trinity Cathedral, Auckland. This subsequent version for expanded orchestral forces, including jazz band instruments, was made for Youth arts 2000, a celebration of artistic performances by young people held in Wellington in August 2000. It was intended as a massed item at the end of the final concert, hence the inclusion of jazz bands in the scoring as well as a large orchestra.

  • Availability

James Gardner  

Fetish Effigies

Duration: 08' 00" Year: 2000
for flute, oboe, clarinet, horn, percussion, piano, violin, viola, cello and double bass

  • Instrumentation
    flute (doubles picc. and alto fl.); oboe (doubles cor anglais); B flat clarinet; horn in F; 1 percussion: marimba, vibraphone, bass drum, tam tam, sandpaper blocks and percussion cluster
  • Programme Note

    “The boundary between collection and fetishism is mediated by classification and display in tension with accumulation and secrecy.” Two musical strands run virtually throughout this short piece, sometimes clearly differentiated, at other times more obscure and confused, but always at some level presenting an opposition between an ‘organic’, accretional layer and an ‘inorganic’ abruptly changing one. This opposition can operate not only at surface level – as it does at the beginning, when two highly differentiated instrumental combinations are presented, each with their own characteristic modes of behaviour – but also at a subcutaneous level, when applied to various ways of generating or modifying the basic material. These concerns form only the technical armature and implementation of the piece, of course, and much of the original musical imagery was suggested by Borges’ short story The Circular Ruins.

    While giving the obligatory (questionable?) disclaimer about the piece in no way being programmatic, much of the mood and atmosphere of the story was certainly in my mind during the initial sketching stages, and it seems to me that its central conceit – one human dreaming another into existence, by sheer will – is a marvellous metaphor for the act of composition.

  • Availability

Rachel Clement  

Fracture

 Year: 2000
For Mezzo Soprano, Flute, Piano and Cello

Leonie Holmes  

Invocation

Duration: 05' 00" Year: 2000
for SATB choir and piano

John Psathas  

Omnifenix

Duration: 16' 00" Year: 2000
for tenor saxophone, drumkit and orchestra

Maria Grenfell  

Poems of a Bright Moon

Duration: 11' 00" Year: 2000
for flute, clarinet and piano

  • Instrumentation
    alto flute, B flat clarinet
  • Programme Note

    Poems of a Bright Moon for flute/alto flute, clarinet and piano was inspired by the Hsiang-Yang Songs of Li Po, an 8th-century Chinese poet of the T’ang Dynasty (ca.618-906 A.D.).

    On a visit to New Mexico in the United States, the discovery of the poet William Carlos Williams and the art work of Georgia O’Keeffe led to the poetry of Li Po, which conjures up visions of mountains and rivers, also very much part of the New Mexico landscape. Li Po was something of a mischievous travelling minstrel and liked to indulge in the drink somewhat. A legend says that “while out drunk in a boat, he fell into a river and drowned trying to embrace the moon.”

    The moon appears in over a third of his poems, and the opportunity to combine Li Po’s images of moonlight with the rich dark tones of the alto flute was irresistible. The individual titles of the movements of this piece come directly from the poems, and the music attempts to evoke the spirit of the titles: Hsien mountain rises above emerald Han river, On a moonlit night, a recluse plays his pale white ch’in and A pure ten-thousand-mile wind arrives.

    Poems of a Bright Moon was commissioned by Ethos trio with funding assistance from Creative New Zealand.

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Dan Poynton  

Roimata

Duration: 08' 00" Year: 2000
for soprano and piano

Maria Grenfell  

Stealing Tutunui

Duration: 10' 00" Year: 2000
for orchestra