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Jenny McLeod  

Tone Clock Piece XVIII - Landscape Prelude

Duration: 03' 30" Year: 2007
a "landscape prelude" for piano

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Gillian Whitehead  

Tūmanako: Journey through an unknown landscape

 Year: 2010
for piano

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  • Programme Note

    Tūmanako: Journey through an unknown landscape was commissioned by Helen Kominik for her great-grandchildren, Kate Fraser and Tom Fraser. The commissioning was through SOUNZtender, a project of the Centre for New Zealand Music Trust.

    Tūmanako (hope) was the name given to the property where Helen Kominik was born and lived for thirty years.

    Just before writing the piece, I was travelling by car through Yunnan, glimpsing in passing scenes which were in part familiar and traditional, and in part slightly alien; there was no time to process what I was seeing. Similarly the piece exists in a series of ideas that are not worked through to any extent (although ideas do recur); this sense of journeying could perhaps be seen as a reflection of a journey through time and generations in Helen Kominik’s dedication of this piece to her great-grandchildren.

    As the pianist Diedre Irons, for whom Tūmanako: Journey through an unknown landscape was written, is interested in improvisation, two sections in the piece can either be played as written, or used as a basis for improvisatory elaboration.

    Gillian Whitehead

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John Charles  

Utu

Duration: 32' 00" Year: 1982
music for a feature film produced by Geoff Murphy and Don Blakeney and directed by Geoff Murphy

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John Psathas  

View from Olympus

Duration: 20' 00" Year: 2002
double concerto for percussion, piano and orchestra

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  • Instrumentation
    2222;4331; timp; 2 perc. ( triangle, snare drum, mark tree, glockenspiel, tubular bells, marimba,cowbell, vibraphone, cymbals -splash, medium crash, china crash), bass drum, tambourine, 3 high tom toms (different pitches), finger cymbals; harp; strings; solo piano; solo percussion ( vibraphone, marimba, simtak, dulcimer, bass steel drums, wind chimes (2 or 3 sets), bell tree, mark tree, triangle, finger cymbals, drum station (4 octobans, 4 tom toms, 3 paddle drums, cymbals (trash, splash, medium crash, china crash, plus a cluster of smallest-possible splash cymbals), hi-hat)
  • Programme Note

    I The Furies – The Furies were avenging spirits of retributive justice whose task was to punish crimes outside the reach of human justice. Their names were Alecto, Megæra and Tisiphone. This movement contains an adapted transcription of a fragment of improvised playing by one of my favourite Greek violinists, Stathis Koukoularis (It appears as a solo for violin about 2 minutes into the movement).

    II To Yelasto Paithi (The Smiling Child) – This is the closest I’ve come to expressing – in a way not possible with the spoken or written word – the feelings inspired by my precious children, Emanuel and Zoe. In this movement is also caught the summer I spent working on the concerto at my parents’ house just outside the village of Nea Michaniona – a house perched on a cliff which looks down on the Aegean and up to Mount Olympus.

    III Dance of the Mænads – Draped in the skins of fawns, crowned with wreaths of ivy and carrying the thyrsos – a staff wound round with ivy leaves and topped with a pine cone – the Mænads roamed the mountains and woods, seeking to assimilate the potency of the beasts that dwelled there and celebrating their god Dionysos with song, music and dance. The human spirit demands Dionysiac ecstasy; to those who accept it, the experience offers spiritual power. For those who repress the natural force within themselves, or refuse it to others, it is transformed into destruction, both of the innocent and the guilty. When possessed by Dionysos, the Mænads became savage and brutal. They plunged into a frenzied dance, obtaining an intoxicating high and a mystical ecstasy that gave them unknown powers, making them the match of the bravest hero.

    John Psathas, 2001

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Gary Daverne  

Youth of Auckland

Duration: 11' 00" Year: 1986
concert overture for orchestra

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