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The overall conception of the piece is underpinned by an evolving, wave-like movement – continuous cycles stretching/compressing/proliferating. There is a strong connection to the sea, as in [… and…11], composed in 2002. A passacaglia of seven chords, gradually permutating until they eventually assemble into reverse order, form the ground or ‘canvas’. The various textural and linear surfaces of the piece all emerge from this ground as reflections, extensions, compressions, or distillations of the core material. Quarter-tones (division of the chromatic scale into 24 tones instead of the usual 12) enrich and intensify the harmony while rendering it more tactile and less pitch-defined.

Review:

“The 7-minute a gentle infinity…is both atmospheric and deft in Ker’s handling of a large orchestra, subtly dynamic (not least in the use of percussion), edgily communicative, and vibrant in its imagery; a piece full of good things, arguably cut off prematurely. Conducted by Pavel Kotla, the LSO once again suggested that Ker (in attendance) is a composer to watch out for.”

-Colin Anderson, www.classicalsource.com

• Dorothy Ker: a gentle infinity - hardcopy score 

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Originally, A Jazz Burlesque was composed as a piano solo. It was later arranged for accordion trio, then for accordion orchestra. This string arrangement followed for the all female string ensemble ‘String Silhouette’.

• Daverne: A Jazz Burlesque; computer-set 

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• Daverne: A Jazz Burlesque; computer-set 

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• Gary Daverne: Gallipoli 

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A Musical Party was commissioned by the New Zealand Accordion Association (NZAA) to commemorate their 30th anniversary in June 2001. The weekend and Musical Party was dedicated to Silvio De Pra, honouring him for his outstanding contribution to the accordion in New Zealand. He has chaired the Accordion Examination Board of NZ Inc. since its inception in 1972 and been chief examiner since 1992.

A Musical Party was premiered by a massed accordion orchestra and conducted by the composer, Gary Daverne. It was later revised and arranged for solo accordion and symphony orchestra, which is the version that appears here.

• Daverne: A Musical Party; computer-set 

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• Gary Daverne: Rhapsody  Year: 2007 

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The title for the lyrical orchestral work was suggested by the main theme which gives the effect of moving in a step-like manner. The work is reflective – almost a nocturne…

• Twomey: A Time Before; computer-set 

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• Twomey: A Time Before; computer-set 

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• Ray Twomey: Music for Orchestra and Carillon 

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• Reflections - Music Composed by Ray Twomey 

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• Ray Twomey: High Valley and A Time Before 

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• Ray Twomey: The Spirit of the Land 

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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.

• Goss: A Village Wedding; computer-set 

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• Goss: A Village Wedding; computer-set 

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• Thomas Goss: A Village Wedding 

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• Farquhar: Anniversary Suite No 1; facsimile 

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• Farquhar: Anniversary Suite No.1; facsimile 

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• Farquhar: Anniversary Suite No 1; facsimile 

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These pieces were originally piano duets, written with one easy part for my wife to play, and presented to her on various anniversary occasions in the 1960s. This orchestral suite was arranged for the 1965 Cambridge Summer Music School, and first performed there by the school’s orchestra. The translation from piano to orchestral sounds makes many opportunities for variety of colours and for real sostenuto. But while orchestral sound is bound to be very different, I have attempted in the Trio of the Mexicana to capture something of the effect of the piano’s harmonic resonance to provide sustaining echoes of the oboe’s tune.

• Farquhar: Anniversary Suite No. 2; facsimile 

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• Farquhar: Anniversary Suite No. 2; facsimile 

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• Farquhar: Anniversary Suite No. 2; facsimile 

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• Farquhar: Anniversary Suite No. 2; facsimile 

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• David Farquhar: Auras  Year: 1997 

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• Taylor: antiphony; computer-set 

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• Taylor: antiphony; computer-set 

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• Taylor: antiphony; computer-set 

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The worship of the Celtic Goddess Sulis and the Roman Goddess Minerva gave rise to the cult of Sul-Minerva at the ancient springs situated in Southwest England. A visit to the site summons up a variety of underground imaginings – dark, steaming pools, slowly dripping water and faster running streams, ancient supplications, sacrifice, curses and prayers, fertility and healing.

• Leonie Holmes: Aquae Sulis - hire set 

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• Chris Archer: Aroha - hardcopy score 

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• Chris Archer: Aroha - downloadable PDF 

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• The Jubilate Singers: Southern Landscapes  Year: 2011 

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