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Spencer Street Station is collaboration between the poet Spencer Jeffery and composer James Dunlop. It combines spoken word with music and sound scape art.

In an audio flim style it portrays the stuggle of a working class man trying to find meaning in his life. His searching is meatphorically represented through travel as he describes his past, present, and hopes for the future.


James Dunlop, August 2008

• James Dunlop: Spencer Street Station 

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for B flat clarinet, tenor saxophone, percussion, contrabass - there is improvisation within set structures mostly for the tenor saxophone and contrabass

In my work as a composer I have found bringing together classical and jazz musicians to be a rich and unique way of working. I have experience in both fields and my compositional talent and interest lies genuinely across the two art forms.

This piece has been specifically composed for these performers and their unique sets of skills. Each performer is of a very high calibre and each possesses something special and unique in their playing and approach to music making. Mike Kime and Reuben Derrick often have moments of freedom as they are both accomplished improvisers. Gretchen Dunsmore and Mark Le Roche are classically trained performers with excellent skills and intelligent ears and minds. I knew that each of them would bring something to the work that would be unique and exciting.

More recently my creative interest in movement and form has expanded to contemporary dance and I wanted to involve and include another artistic discipline in this work. Collaborating with Julia Milsom has been an exciting new venture for me. The nature of the sounds within the piece are highly applicable to contemporary dance and have been interpreted and expressed with considerable talent and skill by Julia.

Layers of sound in time is a theme I have developed extensively in the piece. The layers interact, evolve, contrast, compliment, and conflict with each other to create a depth of space and time between them.

The work is an exploration of the timelessness that comes in moments of deep introspection through evocative sounds and movement.

Alex van den Broek

• van den Broek: Still Standing Silent; computer-set 

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• van den Broek: Still Standing Silent; computer-set 

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• Alex van den Broek: Still Standing Silent; video 

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• Alex van den Broek: Still Standing Silent  Year: 2009 

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The initial musical thoughts for Symphony III came from two related sources of inspiration – the paintings of Marc Chagall and Klezmer music. I had been playing accordion in a klezmer band in Wellington for a year or so before starting the work. I was intrigued by the genre and began writing klezmer influenced tunes for the band to play.

The simple klezmer tunes are woven into the piece in different ways. Some of them are treated as symphonic themes that are developed and transformed while others are quoted as melodies from popular music. There are passing references to dances, marches, and the use of solo violin and the novel appearance of accordion make reference to folk-like musical ideas inspired by klezmer.

Symphony No. 3 is in one movement divided into five sections generally alternating between slow and fast music. Sometimes the music is very transparent and simple at other times dense web-like textures emerge.

Symphony III can be heard as a unfolding journey, following paths whose destination is uncertain or unknown. It might almost be thought of as a saga, a story which is sometimes mysterious, sometimes funny, sometimes tragic but, I hope, always stimulating to the listener’s imagination.

Ross Harris

• Harris: Symphony III; computer-set 

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• Harris: Symphony III; computer-set 

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• NZ Premieres July 2008 to June 2009 Vol. 2 

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• Ross Harris: Symphonies Nos. 2 and 3  Year: 2012 

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2(2nd doubled piccolo)232; 4231; timp (4-including piccolo timp), 2 perc (bass drum, 4 tom toms, suspended cymbal, large suspended cymbal, crash cymbals, tam tam, xylophone, marimba,glockenspiel, log drum,hammer(hitting a metallic object), poi (suspended between two strings) hp, pf,electronic keyboard,strs

“Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed on the world . . .”

from The Second Coming by W. B. Yeats

When asked to compose a work on the meaning and symbolism of the new millennium, I decided to use William Butler Yeats’ famous poem The Second Coming as a starting point. Written in 1921, when the old order in Europe was breaking down, it suggests a revolution or rotation in history (the gyre) will bring about a ‘second coming’ of an important historical figure, and the dawn of a new millennium. Yeats’ vision of the new world order to come is not, however, optimistic. He sees the coming of a ‘rough beast’ with a ‘lion body and the head of a man’, a cold and heartless creature that might be equated with certain infamous and autocratic leaders in the 20th century.

The ‘gyre’ or revolution is represented in the symphony by a rolling, sliding timpani sound, accompanied by bass drum and tam tam at the start of the work. This idea becomes an important motif and appears at the very start. Following the ‘gyre’, we hear a ‘life and death’ theme that begins like a cradle song (the birth of Christ), rises, and then twists downwards in a chromatic line. This theme provides most of the material for what follows. The slow introduction climaxes with hammer blows, a reference to the death of Christ. From this a trumpet call emerges, becoming a significant motif later in the movement. In the allegro that follows, the ‘life and death’ theme is transformed into a fast and restless melody, beginning as pizzicato on the strings. Complimenting this is a macabre and folky theme on muted trumpet and clarinets, evoking a sort of frenzied, gyrating dance. The music quietens and a lyrical theme appears on flute, accompanied by timpani and harp and developed by the strings. As the music climaxes again, the trumpet call reappears, shared around other brass instruments. The significance of this trumpet call can be seen with reference to another poem, this time by New Zealander Peggy Dunstan:

Stratagem of Trumpets

“Then the trumpets sounded
Not in a flare of pomp and pageantry
But with a golden lilting laughter

That seemed to open up the sky
So that the music dropped like rain
Upon the upturned faces
And the enchanted ears were closed
To everything except those throbbing notes. . . "

The trumpets distract the listeners, and make them unaware of the advancing enemy. Dunstan’s poem goes on to describe a massacre of Serbs in 1389 at the time of the battle of Kosovo between Serbs and Turks. At the time of composing my symphony Kosovo was once again in the grip of war and atrocity, only this time the Serbs were the aggressors and Albanians were the victims.

It seems to me that Kosovo sums up a situation common in our past millennium: an endless cycle of struggle for land and power, costing many innocent lives. In the music, the log drum heralds a sort of ‘musical battle-field’ in which the ‘life and death’ theme becomes an aggressive, jagged idea, used fugally in an increasingly dissonant texture. Following the ‘battle’, solo strings, piccolo and harp provide a brief lament for the dead and the music returns to the music of the Introduction. This time it is mixed fragments of the flute theme, and the movement ends quietly with the ‘gyre’ motif.

If the first movement represents the past, then the second movement is a comment on the present. The title Mi-1st refers to the heavy emphasis on the note E (or Mi in the sol-fa system) as a central pitch, but can also be interpreted as ‘me-first’. Essentially this music is about the natural human tendency to be self-centred, which I believe has become much more prevalent in our own society. It is perhaps one aspect of Yeats’ ‘rough beast’ that hinders our progress. There are three main ideas in this presto movement. The first is a savage chromatic theme that encircles the note E, played initially on strings. It is immediately followed by a vigorous, syncopated theme on strings and winds. As a contrast, the harp accompanies a quieter, smoother theme on the violins, which also includes the twisting, chromatic motif from the first movement. In the middle, the music becomes increasingly chaotic until a climax on C is reached, with hope for resolution to the discords. However, the music slips into the key of B, and the strings play a restless, anxious version of the contrast theme. The frenetic energy of the first part gradually dissipats, and the movement collapses into a web of solo violins. The ‘gyre’ motif has the final say.

There are a number of themes in the third movement, but all evolve in some way or other from the constantly twisting, turning melodic line that appears at the start. Used in close canon, this melody represents the intertwining DNA molecule, and hence the title of the movement, Double Helix. Discovered recently in our history, genetics are sure to have a highly significant role in the future. This music looks forward with the hope that genetics will be used in a positive way. It also acknowledges that we carry with us the characteristics of previous generations (covering a whole millennium and more!), and that the future will be significantly shaped by these characteristics. At the same time we need to learn from the hard lessons of previous generations in order to make progress.

Consequently, the symphony has an optimistic and celebratory end, which is tempered by a sense of warning. In the coda, the threads of Double Helix motifs are combined with a return of the main theme from the first movement, played on full brass.

• Ritchie A.: Symphony No.2 The Widening Gyre; Computer Set 

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• Ritchie A.: Symphony No.2 The Widening Gyre; computer-set 

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• Ritchie A.: Mi-1st 

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• Ritchie A.: Symphony No.2 (The Widening Gyre)  Year: 2000 

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• Anthony Ritchie: Symphonies 1 and 2  Year: 2007 

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3 (piccolo) 2 (2nd oboe doubling Cor Anglais) 3 (bass clarinet) 2; 4331; timpani; 3 percussion; harp; piano; strings

• Norris: Symphony No.1 the mountains...; computer 

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• Norris: Symphony No.1 

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one of the mezzo sopranos needs to be familiar with performing Maori waiata.

This chamber work, composed in 2002, is based on the music drama of the same title, with music by Helen Fisher, Maori composition by Wi Kuki Kaa and lyrics by Lauris Edmond. This shorter work for two sopranos, kai-karanga, string quartet, flute, bodhran and Maori instruments was produced for a CD on the Atoll label (ACD 203). This work focuses on some Maori and Pakeha women’s stories surrounding the events of the 1843 Wairau tragedy. These are stories of compassion, which have a resonance for New Zealand today, showing a way forward for reconciliation and racial harmony.

• Fisher: Taku Wana - the Enduring Spirit; computer-set 

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• Fisher: Taku Wana - the Enduring Spirit; computer-set 

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• Fisher: Taku Wana  Year: 2003 

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