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piccolo, alto flute/flute, 2 oboes, clarinet in Bb, bass clarinet, 2 bassoons, harp, vibraphone, strings.

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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3[1.2.p]3[1.2.ca]3[1.2.bcl]3[1.2.contra]; 4331; timp.; 2 perc.; organ; harp; strings

This work was written as part of a series of composer workshops organised by the Auckland Philharmonia Orchestra, for works for organ and orchestra. The Auckland Town Hall organ had been restored and refurbished, returning it to its original splendour as a magnificent concert organ. Six composers were invited to write works for organ and symphony orchestra during 2012, for performance in 2013.

For this work I proposed a work that would contrast percussive sounds with the sound of the organ.

The title appealed to me through its various meanings and associations. Firstly as “a mythological, fire-breathing monster, commonly represented with a lion’s head, a goat’s body, and a serpent’s tail”. Surely if anything could be said to be a musical embodiment of a “fire-breathing monster” it would be the pipe organ! A second definition suggests a ‘chimera’ might be seen as a “grotesque monster having disparate parts”, and also as a “vain or idle fancy”. These last two definitions perhaps relating to the disparate nature of sounds available on the instrument, and the somewhat free-form of the work.

Musically the work contrasts a syncopated one-bar rhythmic idea with more flowing melodic material presented by both the orchestra and the organ. In the final bars the two powerful forces battle for supremacy with the organ having the last word!
I was delighted to be paired with organist John Wells for this project, a musician and fellow composer who I admire greatly (and whose daughters I had taught!). His advice and support were very much appreciated.

-David Hamilton

• David Hamilton: Chimera - hire set 

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• David Hamilton: Chimera - downloadable PDF 

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‘In girum imus nocte et consumimur igni’ is a palindromic riddle that translates as ‘We enter the circle at night and are consumed by fire’, or ‘We wander at night and are consumed by fire’.

• Margetic: Et consumimur igni; computer set 

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• Margetic: Et consumimur igni; computer set 

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piccolo, flute, oboe, cor anglais, clarinet, bass clarinet, bassoon 1 and 2, 3 horns, 3 trumpets, 2 trombones, bass trombone, tuba, timpani, 2 percussionists (crash cymbals, suspended cymbals, roto-toms, claves, rain stick, vibraphone), harp, strings and narrator

“I enjoyed performing and recording Eulogy very much. Such a warmth of texture and harmonies which created a sympathetic palette for Olivia Macassey’s word painting” – Kenneth Young

My decision to set this text for orchestra initially arose, not only from reading the poem and appreciating it for what it is, but also from the recent passing of a dear musician colleague with whom I had collaborated on many early jazz projects.

However, at time of writing, I have become most un-nerved by the senseless loss of young life that has been occurring with alarming regularity at a couple of schools I have recently taught at. It was with these tremendously sad, sudden passings in mind that I completed my work on the piano short score of Eulogy, before commencing work on its orchestration.

Yvette Audain

• Audain: Eulogy; computer-set 

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• Audain: Eulogy; computer-set 

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• Two works by Yvette Audain 

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• The APO Composers' Workshop 2010 

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2(1st doubles picc., 2nd doubles alto flute)3(3rd is cor anglais)3(2nd doubles bass cl.)3(3rd doubles contra bsn.) 4330 2perc (incl timp) strings

While the composer is wary of assigning a fixed meaning or intention to the finished work, there are elements of reflexivity and self-reference at play in the work’s construction. The listener will bring his or her own aesthetic values, experiences and emotions to the work, but the following is provided to complement those, only as a guide to how the piece might be read in one way or another.

The broad trajectory of feel is one of expansion within a framework of introspection. At the outset, the lyrical voice of the cor anglais is trapped in a stifling, hostile environment, which buries the cor in amorphous, alien textures. But by the end of the work, melodic figures saturate the texture, transforming the orchestra from something rather suffocating and claustrophobic to something more open, polyphonic and mercurial. The trapped middle voices gradually expand outwards to incorporate higher and lower registers, more expansive gestures and extend beyond the constraints imposed at the opening.

In many ways for me this is a sort of “coming out” piece, or at least, a piece concerned with the feel of coming out. It contains both confessional and closeted elements, often in conflict, much like in John Ashbery’s “Poem in Three Parts,” from which this work’s title is derived. There Ashbery is both concerned with and ambivalent towards the speaker’s own sexuality; he seems to present the speaker of the poem as almost ridiculous in the way he separates intimacy and emotion, but at the same time there is a kind of positive romanticization of the speaker’s (impossible?) attempt to go beyond sexuality towards simply “feelings”:

“I just have other things to think about,

More important things. Who goes to bed with what

Is unimportant. Feelings are important.

Mostly I think of feelings, they fill up my life

Like the wind, like tumbling clouds

In a sky full of clouds, clouds upon clouds.”

extract from “1. Love” in “Poem in Three Parts” by John Ashbery. Published in the collection Self-Portrait in a Convex Mirror.

feel is not a musical analogy or direct representation of that poem, but it does share similar concerns: closetedness, openness, and an attempt to explore the relationship between identity, intimacy and emotion. For me personally this is a way of extending and opening out my musical language towards something more inclusive – towards a language that recognises not only the difficulties and constraints of lyricism (and of music in general) but also its many possibilities.

The work is in four movements, with a break only between the second and third movements.

• Alex Taylor: feel - hire set 

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• Alex Taylor: feel - downloadable PDF 

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2222, 2221, 2 perc, strings (no double basses)

• Holloway: Hauptstimme; computer set 

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• Holloway: Hauptstimme; computer set 

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• Holloway: Hauptstimme; computer set 

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for five sopranos, four mezzo sopranos, one alto, four tenors, three baritones, two bass (actors/singers may duplicate roles within a production)

Plot Summary:

Diane Forest is an artistically successful author who makes a deal with Mephistopheles to become financially successful.

• Davidson: Love or Money; computer-set 

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• Davidson: Love or Money; computer-set 

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• Davidson: Love or Money; computer-set 

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• Davidson: Love or Money; computer-set 

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• Davidson: Love or Money; computer-set 

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• Davidson: Love or Money; computer-set 

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• Matthew Davidson: Love or Money; MIDI 

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• Matthew Davidson: Love or Money 

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3*3*3*3*; 4331; Timp; 2 Perc.; Organ; Strings

Mahuika for organ and orchestra was, like several of my pieces, given a title in its infancy. In the way that a child grows into her name over time, Mahuika has developed a particular character during the process of writing. The work is not programmatic, but the origins of its name have come to influence the work: Mahuika, a Maori fire goddess, is awakened into her full terrifying extreme, utilising the full range and capacity of both the Auckland Town Hall organ and the Auckland Philharmonia. Mahuika evokes the sense of a young teenage goddess full of ideas and vitality but without the opportunity to yet develop and explore them fully.

The work has the potential to mature into a full-scale organ symphony of around 30-40 minutes: if anyone is in a position to fund her to grow further please contact me to discuss.

• Chris Adams: Mahuika - hire set 

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2222,2211,2 perc, harp, strings; solo viola

In this work, the first movement uses two Basque melodies (one of which is a Basque lullaby whose text contains only Basque nonsense words) for the first group and a “Bulgarianized” version of a Hungarian folk melody for the second in this short sonata form. The second movement is an arrangement of a 14th century melody by Guillaume de Machault, and the last owes something to Scandinavian folk music (the obscure title refers to a favorite Finnish dill-infused salad dressing that I like to make on occasion).

Matthew Davidson

• Davidson: Music for Viola and Orchestra 

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• Davidson: Music for Viola and Orchestra; computer-set 

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• Matthew Davidson: Music for Viola and Orchestra; computer-set 

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2222,4221,2 perc, strings

• Davidson: Robert Schumann / Symphony no. 5; computer-set 

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• Davidson: Robert Schumann / Symphony no. 5; computer-set 

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• Davidson: Robert Schumann / Symphony no. 5; computer-set 

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• Matthew Davidson: Robert Schumann / Symphony no. 5 

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