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• Elmsly: Cello Symphony; facsimile 

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• Auckland Philharmonia: New Zealand Music 2  Year: 1990 

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• McLeod: Little Symphony; facsimile 

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• McLeod: Little Symphony; facsimile 

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• New Zealand Composers  Year: 1995 

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• Kenneth Young - orchestral music  Year: 1998 

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• Tremain: Symphony; facsimile 

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A full length symphony for large orchestra in three movements. It takes its title from the sequence of three sonnets The Islands by the New Zealand poet Charles Brasch. The music mirrors the unsettled air of the poetry and contrasts violence with delicacy and beauty as a metaphor for our times.

• Blake: Symphony - The Islands; computer-set 

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• Christopher Blake: The Islands  Year: 2002 

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• Rimmer: Symphony: The Feeling of Sound; facsimile  Year: 1990 

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• Auckland Philharmonia Orchestra: New Zealand Music 4  Year: 1992 

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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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A central idea to ‘Symphony in Five Movements’ concerns aspects of timing. Its form was partially inspired by the martial arts treatise ‘Go Rin No Sho’ (A Book of Five Rings), which considers timing and its relationship to strategy. The five books are: Ground, Water, Fire, Wind & Void. There is a loose correspondence between the inspiration behind some of the movements and each of the ‘books.’ Thus, the third movement refers to the book of tradition ‘wind’ and consequently, is modelled on a scherzo, not only paying tribute to Beethoven, but in a broader sense indicating the desire to give the entire work a historical reference. The Introduction or first movement is analogous to the ‘ground’ book (the path), outlining the Symphony’s musical ideas. The fifth movement (‘void’) has a strongly rhythmic structure with contemporary influence throughout, reflected in, and overlayed with its violin-based lyrical stream. This strongly linear work was described by Denys Trussell in a subsequent review for ‘Quote Unquote’ after its Auckland Philharmonia Orchestra performance in 1996 as being “rich with feeling and atmosphere.” The fourth and fifith movements were given a reading by the New Zealand Symphony Orchestra conducted by Hamish McKeich at the NZSO – SOUNZ Readings in October 2001 in Wellington.

• Keay: Symphony in Five Movements; computer-set 

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• Keay: Symphony in Five Movements; computer-set 

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• Nigel Keay: Symphony in Five Movements; audio 

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• New Zealand Music: Marshall and Keay 

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• Nigel Keay: Works 

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• APO Commissions of NZ Music 1995 - 1997 

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The first movement of this symphony opens quietly with a number of ideas in which the melodic interval of a fifth has some prominence. A faster section follows and the development of these ideas leads to climaxes with patterns of diverse rhythms superimposed. After the final climax the movement subsides to a quiet ending.

The second movement has the character of a Scherzo. Lively rhythms alternating between 6/8 and 3/4 lead to a quieter sustained “trio” tune. The scherzo resumes and takes the music to a climax where these two ideas are presented together – the faster one (violins and trumpets) across the slower (horns and trombones). The music unwinds until we are left with a fragment of the slower theme, which becomes a link to the third movement.

The finale has the form of a free passacaglia. It grows out of the opening trumpet tune and its accompaniment – the trumpet tune becomes the passacaglia bass, while the stepwise bass takes over as melody. At the end of the movement a reference back to the melodic falling fifths of the first movement leads to the final chord – fading from brass to wind, and in the end, to strings alone.

(Programme note by Owen Jensen on the sleeve of the 1969 Kiwi/Pacfic LP recording by the NZSO under Juan Matteucci)

• Farquhar: Symphony No. 1; facsimile 

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• Music by Lilburn and Farquhar  Year: 1968 

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• Music by Lilburn and Farquhar  Year: 1969 

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• David Farquhar: Three Symphonies  Year: 2004 

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• Lilburn: Symphony No. 1; facsimile 

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• Lilburn: Symphony No. 1 

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• Douglas Lilburn: The Three Symphonies  Year: 1968 

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• Lilburn: Symphony No. 1 and other works  Year: 1986 

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• Lilburn: Three Symphonies  Year: 1993 

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• Lilburn: The Three Symphonies  Year: 2001 

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