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Ross Harris  

Fluchtig

Duration: 06' 00" Year: 1986
for flute and tape

  • Programme Note

    Fluchtig was composed in 1986. The title comes from the German word fluchtig – fleeting – used by Schoenberg and others in various compositions (eg. Op. 19 No. 1). The work is built around the interaction between flute multiphonics (two or more notes played simultaneously) with their characteristic ‘fleeting’ nature, and FM sound on tape.

  • Availability

John Elmsly  

Gestauqua

Duration: 09' 00" Year: 1989
for brass quintet and tape

Christopher Prosser   Jonathan Besser  

Romantic Rite

Duration: 09' 00" Year: 1986
for violin and piano

John Rimmer  

Signals

Duration: 05' 00" Year: 1985
for brass quintet and renaissance instruments

David Hamilton  

Slides 5

Duration: 05' 00" Year: 1985
for baroque flute and crotales

  • Programme Note

    Written for the composition tutor at the 1985 Cambridge Music School, John Elmsly, Slides 5 received its first performance in 1987 at a University of Auckland concert. The combination here is of baroque flute with crotales (tuned antique cymbals). The pitch range here is much narrower than with a conventional flute. One particular feature of the music is a fingered tremolo while a single pitch is held, thereby causing microtonal fluctuations in the pitch of that note.

  • Availability

David Hamilton  

The Moon is Silently Singing

Duration: 09' 00" Year: 1985
for two SSATB choirs and two horns

  • Instrumentation
    second horn can be replaced by pre-recorded tape
  • Programme Note

    Scored for two SSATB choirs with two homs, this work sets a poem by Miguel de Unamuno in Spanish. This work has been performed in Australia, England and the USA, as well as throughout New Zealand.

    It is a setting of a short poem by the Spanish poet Miguel de Unamuno (1864-1936) and begins by setting the text in a fragmentary manner, choosing single key words from the poem: canta (singing), luna (moon), sosegada (lulling), blanca (white), and sola (alone). Throughout, I have sought to evoke a mood of stillness and calm (except at the two main climaxes), and much of the writing consists of simple diatonic chords alternating between the two choirs. The work ends, as it began, alternating the words ‘canta’ and ‘luna’.

    The unusual scoring came about through my friendship with a fine horn player and singer – a flippant comment about unorthodox combinations of forces (although I have heard one other work for horn and choir) providing the germ of idea which eventually did bear fruit.

    The Moon is Silently Singing is one of my most widely preformed works internationally, having been heard in Australia, Canada, Germany, England and the USA.

  • Availability

Jonathan Besser  

Wellington Harbour

Duration: 07' 00" Year: 1986
for violin (or other feature instrument) and piano

Dorothy Freed  

Wellington Letter

Duration: 06' 00" Year: 1980
for quartet and narrator - incidental music for poems