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John Rimmer  

Adieu KS

Duration: 03' 00" Year: 2008
for solo violin

  • Programme Note

    Karlheinz Stockhausen, Luciano Berio and Pierre Boulez have long been in my group of compositional heroes. Not that I have always understood or accepted what they were doing but rather because they opened new vistas of compositional processes.

    Stockhausen in particular offered composers new ideas about the way music is structured. His ‘moment’ forms made a deep impression and his early electronic music pieces Gesang der Jünglinge and Kontakte blazed new pathways. They are classics in the music of the twentieth century.

    Adieu KS for solo vioklin is my musical way of offering a deep sense of gratitude to Karlheinz Stockhausen. This short hommage nods in the directly of Stockhausen’s early Sonatina for violin and piano and utilises a sequence of pitches from this work. Fragments contrast with continuity, melody with violinistic sounds and movement with stasis.

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Jeroen Speak  

Arabesques

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

Gillian Whitehead  

Bright Silence

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

Christopher Prosser  

Brightest Day

Duration: 01' 05" Year: 2001
for violin

Diana Blom  

Genji (the Shining Prince) and the Koto Player

Duration: 08' 30" Year: 2009
for piano and violin

  • Programme Note

    Written over 1,000 years ago by Murasaki Shikibu, the noval, The Tale of Genfi, has continuously captured imaginations through different media including movies, plays, dance, Kabuki, opera and manga (comic books). The story is full of musical references. Genji, himself, plays the wagon, a six-stringed koto considered old-fashioned in the story, while the key women in his life play the kin, a seven-stringed, unfretted koto from China. Several modes are mentioned including the richi (ryo) and ritsu modes, to indicate a change of mood. Poems which have constant role in special conversations are described as tanka (short song), waka (long song) or simply uta (song). The novel is also infused with luscious descriptions of the clothes being worn, both colour – in particular greys and many shades of red – and the texture of the fabrics.

    Many of these musical and non-musical elements are drawn into Genji (the Shining Prince) and the Koto Player for violin and piano. The work has three parts – “Tuning”, “Uta” and “Manga”. “Tuning” adopts some characteristics of koto playing and tuning plus distinctive figures from other traditional Japanese musics; “Uta” introduces the old modes of richi and ritsu in a lyrical style; and “Monga” transforms the musical shapes of the previous section info a fast, driving manga style movement using modern Japanese scales. Genji is dedicated to james Cuddeford (violin) and Zubin Kanga (piano) who gave the work its first performance at the Creative Explosion in the West on 22 October, 2009 at the University of Western Sydney.

    Diana Blom

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Juliet Palmer  

Inland

Duration: 1h 30' 00" Year: 2002
a dance-theatre work for violin and CD

  • Programme Note

    Using animal imagery to take us into the heart of the human condition, Inland charts the fragile equilibrium between shepherd, flock, dog and hawk. Inland is a dance-theatre work conceived and choreographed by Douglas Wright. The work was commissioned by the 2002 New Zealand Festival with funding from Creative New Zealand.

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Anthony Ritchie  

Meditation

Duration: 12' 00" Year: 2008
for violin and piano

  • Programme Note

    Meditation was commissioned by Tessa Petersen and John Van Buskirk for performance in a concert celebrating the opening of the Chinese Gardens in Dunedin, New Zealand, 2008. The piece takes an ancient Chinese poem as its point of departure, a text that focuses on Nature and its relationship to humans. The music spontaneously expresses thoughts of Nature and beauty, using simple ideas based around modes, repeated ostinati, and a mixture of long melodic lines and shorter motifs. Various timbres on both instruments are explored, and the pianist plays on the strings of the instrument with mallets at the beginning and end of the piece. The piece is structured in 3 main sections: slow-faster-slow, and all sections are played without a break.

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Jack Body  

Meditations on Michelangelo

 Year: 2009
for violin and piano

Eric Biddington  

Music for Kathy

 Year: 2005
for violin and piano

Gao Ping  

Questioning the mountain

Duration: 05' 30" Year: 2008
for violin and piano