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Philip Dadson  

7 Airports: solos, duets, chorus

Duration: 12' 00" Year: 2003
electroacoustic work

Dorothy Ker  

[...and...1]

Duration: 13' 00" Year: 2003
for clarinet in A

  • Programme Note

    This piece was composed in close collaboration with Andrew Sparling whose facility in using quarter-tone fingerings made it possible to experiment with these to produce music which exploits their timbral and colouristic qualities. It was stimulated by a return visit, following a seven-year absence, to New Zealand in 2002. Imagery of the sea is strong within its musical/poetic discourse and the piece is broadly structured over a cycle of seven ‘intensity waves’. The title is shared by an earlier work […and… 11] for 12 players (composed for Lontano in 2002). The link between these contrasting works is the morphology of the wave, encapsulated as a sonic envelope of aspirate (a) – resonant (n) – explosive (d), along with the extremes of space that are characterised in the music by extreme contrasts in dynamic, register and motion. Sparling has performed and recorded the piece in a number of different realisations. In April it was performed by Australian player Richard Haynes at the TURA International Festival in Perth and broadcast by ABC.

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Thomas Goss  

A Village Wedding

Duration: 14' 05" Year: 2003
a suite for string orchestra with continuo and solo obbligato in the second movement

  • Programme Note

    A Village Wedding combines two different conceptual approaches; that of the program piece wherein images or activity is described by music; and that of the concerto grosso, a Baroque form which both collectively and individually showcases the players of an ensemble. In the latter case, the piece would seem to fulfill many if not all of the 18th-century requirements. After an overture, movements based on dance rhythms ensue, including the Pavane, March, Gigue, and Rigadoon. Yet the material is cast in a mold that is necessarily programmatic. The Overture, with its opening solemnity, birdsong trills, and developing energy, is intended to describe the bright Sunday morning of a country village, along with the excitement and bustle of wedding preparations. The _Meditation_’s searching cadenza and pensive sweetness exhorts the attendants to send out their blessings to the bride and groom, while the Processional calls the wedding party to the altar. The Dance at the end paints a fiddler’s paradise of flying knees and elbows to jigs and reels as the whole village joins in the revelry.

    The piece is dedicated to the composer’s fiancée Erica, and acknowledges with gratitude and appreciation the dedication and excellence of the members of the YPCO.

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Gareth Farr  

Ahi

Duration: 16' 00" Year: 2003
for piano trio

  • Instrumentation
    for violin, cello and piano
  • Programme Note

    In January 1998 Gareth Farr was commissioned by the James Wallace Chariable Trust to write this Piano Trio for the Ogen Trio, a leading NZ ensemble. Taking its subtitle Ahi from the Maori word for “fire”, it received its debut performance in Auckland, NZ in March 1998 in the presence of the composer. The style of the work varies in each of the four movements: the flavour of a French lullaby predominates in the first; an intense and unrelenting second movement harbours overtones of a Russian military factory; whilst a Balinese pop-inspired fourth movement contains numerous gamelan-like effects. The brief third movement is merely a quiet interlude, with a melodic reference to the first movement. The composition stands in stark contrast to Farr’s previous works. He has experimented with stripping away the density characteristic of past compositions in favour of clearer textures, exploring classical form, and allowing a simplicity of line to come through and speak for itself.

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Lachlan McKenzie  

Alice in Wonderland - a ballet suite

Duration: 21' 00" Year: 2003
a ballet suite for orchestra

Ross Harris  

As though there were no God

Duration: 18' 00" Year: 2003
for orchestra

Ross Harris  

At the Edge of Silence

Duration: 11' 00" Year: 2003
quintet for flute, clarinet, violin, cello and piano

Christopher Prosser  

Birds Reply to Bartok: 44 Violin Duos

 Year: 2003
improvisatory violin duos

David Hamilton  

Bound for Canaan Land

 Year: 2003
for unaccompanied SSAA choir

Annea Lockwood  

Bow Falls

 Year: 2003
music for video by Paul Ryan

  • Programme Note

    This interpretation of Bow Falls is a collaboration in accord with the Earthscore Notational System. This notation assumes that there are patterns in waterflow that can be communicated electronically. Video artist Paul Ryan uses handheld camerawork, slow motion, reverse motion and negative color fields to compose four movements in video. Using only non-sync sound recorded at the Falls, both at the surface and underwater, Annea Lockwood composed a sound study which engages in a play of differences with the video images. The work was co-produced with the Banff Art Center in 2003.

    Paul Ryan is an artist, author and teacher whose video works have been presented at the Museum of Modern Art, the Whitney Museum and internationally. His program for a Hall of Risk in lower Manhattan appeared in the Venice Biennale. NASA published his Earthscore Notational System, on which Bow Falls draws.

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