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Eve de Castro-Robinson  

Five Responses

Duration: 30' 00" Year: 1989
For women's voices, male speaker, and mixed ensemble

  • Instrumentation
    for 3 sopranos, 3 altos, male speaker, alto fl, piccolo ,E-flat clarinet ,B-flat clarinet , bass-clarinet, horn, percussion (xylophone, timpani, 5 temple blocks, tambourine, 15 maracas, windchime, clicker,marimba, cymbals, balloons, pingpong balls) hp,pf. Extras: 13 balloons (with pins); brick (for piano pedal); 100 plus table tennis balls
  • Programme Note

    This work for mixed ensemble and female voices drew its inspiration from a series of paintings by Ken Robinson which were hung up behind the performers. “Drawing on Spanish texts from Pablo Neruda and St John of the Cross, Eve de Castro-Robinson has produced some wonderfully exotic music. Timbres are perfectly judged, from the vibrant exoticism of alto flute in Edged to the mysterious ceremony of horn and timpani in Black Drop and solo lines have a tremendous sense of tautness and cohesion.” William Dart, Music in NZ

  • Availability

Pepe Becker  

Hoquetus Sanctus

Duration: 04' 20" Year: 2008
for vocal octet

  • Instrumentation
    SSAATTBB with clapping and/or hand percussion (stones or wooden clap-sticks)
  • Programme Note

    This work was written as a commission for Baroque Voices, with funding from Creative NZ, to be premiered at the Baroque Voices “Alleluia: a newe work!” concert in May 2008. The concept of the performance is to juxtapose Contemporary New Zealand works with Medieval European ones – and in this case, Hoquetus Sanctus pairs well with Hoquetus David (written by Guillaume de Machaut in the 14th Century), as it explores the idea of hocket, where vocal lines are ‘shared’ between different voices, sometimes jumping from one to another and overlapping each other – however, it can equally well be performed in any choral concert.

    Hoquetus Sanctus is a setting of the Latin Sanctus text for a capella chamber choir or small vocal ensemble.

  • Availability

Pepe Becker  

O Ecclesia

Duration: 04' 30" Year: 2010
for high-voice ensemble, treble recorder and hurdy-gurdy or organ

Samuel Gray  

Remembering

Duration: 03' 01" Year: 2010, r. 2011
for female voices and instrumental ensemble

  • Instrumentation
    3 female voices, 2 flute, clarinet, alt saxophone, bariton saxophone, horn in F, trumpet, 2 trombones, tuba, electric guitar, bass guitar, piano, large bass drum
  • Programme Note

    During the Srebrenica massacre – Europe’s largest genocide since the Second World War – over 8,000 Bosnian Muslim men and boys were murdered in a single day. Against the background of increasing anti-Islamic sentiment and rhetoric in numerous countries, composer Samuel Gray wants us to remember the atrocities that have been committed against Muslims in recent European history so as to encourage a more balanced view of Muslim people than the contemporary diatribe that casts all Muslims as terrorists and extremists.

  • Availability

Helen Fisher  

Taku Wana - The Enduring Spirit

Duration: 37' 00" Year: 2002
for two mezzo sopranos, Kai-karanga, taonga puoro (traditional Maori instruments), flute/piccolo, bodhran, string quartet

  • Instrumentation
    one of the mezzo sopranos needs to be familiar with performing Maori waiata.
  • Programme Note

    This chamber work, composed in 2002, is based on the music drama of the same title, with music by Helen Fisher, Maori composition by Wi Kuki Kaa and lyrics by Lauris Edmond. This shorter work for two sopranos, kai-karanga, string quartet, flute, bodhran and Maori instruments was produced for a CD on the Atoll label (ACD 203). This work focuses on some Maori and Pakeha women’s stories surrounding the events of the 1843 Wairau tragedy. These are stories of compassion, which have a resonance for New Zealand today, showing a way forward for reconciliation and racial harmony.

  • Availability

Gillian Whitehead  

The Virgin and the Nightingale

Duration: 25' 00" Year: 1986
five songs for voices

  • Instrumentation
    sop, m-sop,A,T,Bari,B choir or sextet. Optional melody instrument - flute. If one soprano has a virtuoso high light voice that could undertake the flute line, the upper voices in 1 and 5 can be rearranged between soprano 2 and alto.
  • Programme Note

    The Virgin and the Nightingale was commissioned by Jones and Co with funding from the Music Board of the Australia Council, and first performed by The Song Company in 1992. The poems are taken from Fleur Adcock’s collection of translations of mediaeval poems published by Bloodaxe Books as The Virgin and the nightingale, with kind permission of author and publisher. The five songs all focus on birds; the flute part in Love’s Agent is a (transposed) transcription of a nightingale song. The settings are for SSATTB choir. The songs can be performed as a set or separately; some of them are suitable for choir.

  • Availability