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3343, 3310, harp, timp., 3 perc., strings, mezzo-soprano

In 1909 Alice Adcock, a lively and adventurous young woman from Manchester, was on her way to New Zealand. She was 23, and had recently developed TB, for which there was then no cure. Somehow she persuaded her widowed father to let her travel alone to the other side of the world in case a healthy climate would save her life. (It worked – she lived for another 50 years). The family kept her entertaining letter describing shipboard life, and a few postcards from her have also survived, but most of what we know about her time in New Zealand comes from her father’s letters to her, of which he kept copies, or from family tradition. On her arrival in New Zealand, Alice went into service, travelling widely, much to the consternation of her father. As housekeeper (and the only woman) on a farm in Makarora (a remote settlement on Lake Wanaka) she became pregnant to an unknown man, but was ‘rescued’ by marriage to a local farmer, Charles Pipson, shortly before the birth of her daughter. In 1911, her beloved father died; in 1912, Alice and Charles had a son and the following year, pregnant again, Alice took her children back to England to visit her family. Tragically, while she was away, her husband died suddenly of typhoid fever. Alice hurried back to Makarora to claim her inheritance, but left the two babies with her brother Sam and his wife (who were shortly to emigrate to New Zealand) and took only her eldest child, the illegitimate one, with her. This outraged her sisters-in-law, who saw it as an insult to their dead brother; they sent her away from the farm empty-handed. Once again she had to take a housekeeping job, this time in the North Island. In 1914, Alice and her brother’s family met up again, and Alice began a new life. (Fleur Adcock – abridged) The music of Alice is text-driven, ranging between a language at times extremely simple, as was the basic musical language of the settlers, and at times quite complex, evoking a storm at sea, or the unease of the settlers in a new environment, or Alice’s reaction to the problems which beset her. The piece is held together by various referential motifs. The initial idea, which perhaps suggests the instability of the sea, is also present in the bell-like sounds marking Charles’ death, music associated with a storm at sea is later associated with mental stress, while music suggestive of the movement of shipboard lice later underlies Alice’s traumatic encounter with her sisters-in-law.

There are eight sections, which often merge into one another: 1. in a letter to her father, Alice describes shipboard life; 2. in New Zealand, she compares her past life and hopes for the future; 3. a dialogue between father and daughter, expressed through their letters; 4. in Makarora, Alice discovers she is pregnant; 5. Alice hears of her father’s death; 6. in England, she learns of her husband’s death; 7. back in Makarora, Alice is turned away by her sisters-in-law; 8. turning her back on the South Island, Alice looks forward to her new life with her brother’s family in the north.

While writing this piece, I was drawn again and again into the thought that, although this is a true story, set in a particular place at a certain time, it has the resonances of a universal myth, known to all of us who live here. Our forebears, or we ourselves, have crossed the seas to begin a new life, with unforeseen and unimaginable difficulties and felicities, whether ten years, a century or a millennium or so ago.

• Whitehead: Alice; computer-set 

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• Whitehead: Alice; computer-set 

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• Whitehead: Alice; computer-set 

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• Gillian Whitehead: Alice; audio 

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• Whitehead: Quintet and Alice  

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• Gillian Whitehead: Alice 

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(1)11(1)22; 4331; timp., perc. (3), hp; mezzo soprano; strings

• Cresswell: Canterbury Rhymes; computer-set 

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• Whitehead: Eleanor of Aquitaine; facsimile 

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• Whitehead: Eleanor of Aquitaine; facsimile 

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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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(1)22(1)2(1)2(1); 4230; timp,perc,hp; strs.

• Music by Edwin Carr  Year: 1978 

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• Edwin Carr: Orchestral Music  Year: 1995 

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• Alex Lindsay String Orchestra  Year: 1998 

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The word Requiem comes from the Latin “requies” [rest]. In choosing a text for my piece, I chose not to use the regular texts from the Roman Catholic Liturgy and decided to write my own. The piece is structured in a hybrid form combining both concerto elements with the multiple movement architecture and text setting of the Requiem.

The violinist is the protagonist whose melodies, rhythms and wide ranging emotions counterpoint the voices whose music is always lyrical and simple. At the time of writing this music I was not conscious of any particular emotion or statement, instead the music evolved and took it’s own path. A new section would begin with a simple idea or “cell” and then expand in all directions until complete.

There are eight sections – seven with text and the penultimate movement (the longest in the piece and first composed) for violin and orchestra with no voices.

Requiem Concerto is in memory of my first wife Katherine (Kippy) Harris who was a violinist with the Auckland Philharmonia Orchestra and my son Eliot Scholes.

• Scholes: Requiem Concerto; computer-set 

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• SOUNZ Contemporary Award Finalists 2008 

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• Peter Scholes - Requiem Concerto 

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• NZ Premieres 2008 Vol. 3 

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• Harris: Roimata; computer-set 

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• Harris: Roimata; computer set 

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Tenor, Percussion (timpani, gong, vibraphone, marimba, triangle), Strings

‘Te Arikinui’ for tenor, strings and percussion is an homage to the late Māori Queen, Dame Te Atairangikāhu. Its composition was suggested by the late Dr Mīria Simpson in 1991. In that year, the New Zealand Symphony Orchestra travelled to Ngāruawāhia, outside of Hamilton, to celebrate the 25th anniversary of the Coronation of Dame Te Atairangikāhu. It was Mīria’s idea that a piece of music be commissioned for this occasion.

She approached Tīmoti Kāretu of Ngāi Tūhoe for a text befitting this purpose. Late in 1990, she approached myself to compose the music, which I readily agreed to. Unfortunately, the invitation came quite late and there was not enough time to complete the composition. A first version, however, was completed late in 1991 but it was not performed.

An opportunity to perform the piece came in 2003 when Ngāti Kahungunu violinist Elena approached me to support the development of her project entitled ’Elena’s Cultural Symphony’. I asked a colleague, Craig Utting, to assist with the scoring of a new version of Te Arikinui. This was completed and the work was then performed as part of ’Elena’s Cultural Symphony’ in 2004 by members of the then NGC Wellington Symphonia at the Michael Fowler Centre, Wellington. Unfortunately, I was not satisfied with the work and decided to rework the piece.

I revised the piece in 2005 and 2006 and in that time there were a number of attempts to perform the work in the presence of Dame Te Atairangikāhu (including a proposed performance at Government House, Wellington, in honour of Dame Te Ata’s 30th anniversary in 2006). Unfortunately, none of these were successful. The work was never performed before her as Dame Te Ata passed away in 2006.

It was not until 2010 when the piece was finally performed in its current version at the WEL Energy Academy of Performing Arts, Waikato University, Hamilton. The occasion was the ‘Kīngitanga Day’ held at the university each year to celebrate King Tūheitia’s birthday on 14 April. And so on that day, 14th April 2010, the piece was finally performed in the presence of the King, with his wife Te Atawhai, in the Academy. It was performed by the Waikato University Orchestra conducted by Adam Maha. Howard McGuire, from Ngāti Kahungunu, was the singer.

• Royal: Te Arikinui; computer set 

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• Royal: Te Arikinui; computer set 

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• Charles Royal: Te Arikinui; video 

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2222; 2221; timp., perc (2), hp; strings and narrator

Commissioned in 1985 by the Wellington Regional Orchestra (now the Vector Wellington Orchestra) for a family concert under Sir William Southgate, as part of the 1986 New Zealand International Festival of the Arts in Wellington, The Emperor and the Nightingale has subsequently been performed by a number of New Zealand regional and youth orchestras.

• McLeod: The Emperor and the Nightingale; computer-set 

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• McLeod: The Emperor and the Nightingale; computer-set 

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• McLeod: The Emperor and the Nightingale; computer-set 

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• McLeod: The Emperor and the Nightingale; computer-set 

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• Jenny McLeod: The Emperor and the Nightingale 

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