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• McKenzie: Alice in Wonderland - a ballet suite; computer-set 

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• McKenzie: Alice in Wonderland; computer-set 

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• Music by Lachlan McKenzie 

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• Harris: Black Ice; computer set 

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• Palmer: Cypress; computer set 

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• Palmer: Cypress; computer set 

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The rich overtone resonances from low, rubber-stopped notes on the piano create sensuous single sound moments in the music. These Filipino gong music inspired resonances combine with slow European chorale-like gestures throughout to provide breath moments within an increasingly combative musical texture. The melodic-line derived from Bontok war-chant, usually the prerogative of men, finds full cry in erotic “sea ripples”, which in turn generates long-lyric lines expressive of the poem’s princess meditation on war. Even the chorale-like breath segments work in shortening gasps leading to transfigured Kulintang (Filipino percussion) segments whose dance-like momentum undergird the “metal timbre” climax of work. The text is drawn from Merlinda Bobis’ epic poem Cantata of the Warrior Woman Daragang Magayon – a revisionist re-telling of the Philippines ancient myth associated with the active volcano Mount Mayon. It charts the play of ambivalence and conviction of a beautiful maiden on the eve of battle and is interpreted by the composer as a metaphor of volcanic, erotically-fuelled anger against social injustice, not just in war but in cultural colonisation.

• Crossman: Daragang Magayon Cantata; computer  

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• Daragang Magayon Cantata - Bruce Crossman / Merlinda Bobis 

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• Bruce Crossman: Selected Works (1996-2001) 

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• Bruce Crossman: Intercultural Sounds 

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• Bruce Crossman: Selected Works (1996-2001) Vol. 2 

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• Double Resonances - Bruce Crossman  Year: 2008 

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• Hamilton: Dick Whittington; computer set 

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Using animal imagery to take us into the heart of the human condition, Inland charts the fragile equilibrium between shepherd, flock, dog and hawk. Inland is a dance-theatre work conceived and choreographed by Douglas Wright. The work was commissioned by the 2002 New Zealand Festival with funding from Creative New Zealand.

• Palmer: Inland 

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• Palmer: Inland  Year: 2002 

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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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• Ritchie A.: The God Boy; Computer Set 

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• Ritchie A: The God Boy; computer-set 

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• Ritchie, A.: The God Boy; computer-set 

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• Ritchie A.: The God Boy  Year: 2004 

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• Anthony Ritchie and Jeremy Commons: The God Boy  Year: 2004 

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• Opera Otago: The God Boy by Anthony Ritchie  Year: 2004 

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The one-act chamber opera is base don the short story of the same name by H.G. Wells. It is an exploration of voyeurism and a dark side of human nature that is latent in all of us.

SYNOPSIS:
Scene 1 opens to show a room in a house overlooking a river, which is partly visible through half-drawn curtains. Mrs Green and a man bring in and leave Bailey, who sings of his frustration at being confined to this room because of his infirmity. He finds that ordinary pastimes cannot alleviate the tedium, and we leave him pondering the coming days and weeks.

Scene 2 starts with Bailey in much the same dejected mood as in the previous scene, except now his desperation is rising. Mrs Green is in taking out breakfast dishes and on her way out opens the curtains completely. Suddenly a new world opens up to Bailey. Vessels of all shapes and sizes pass by and give him great entertainment to watch. He rejoices in the pleasure that this simple activity affords him.

In Scene 3, we see Bailey cheering a scene he is watching pass by. He comments that this diversion, which he once would have scorned, has been a lifesaver. He gets frustrated and impatient when nothing is happening, but hopes that one day he will get to see something exciting – a boat sinking, a rescue party and someone hauled out with a boat hook. Then the launch belonging to Fitzgibbon, a neighbour, moves into view. This he recognises instantly. Bailey notices that the dark-skinned (Malayan) servants are behaving oddly. One swaggers with a boat hook, the other just sits and watches the water trail away astern. He comments that this is an unwise behaviour, to be always watching the water like that. The boat moves on. Bailey now ponders the lives of those he watches through his window. They are from all over the world, and gather to pass in front of his window, seemingly to entertain him. He recalls the one particular occasion when a man rowed into view, had caught something, got into difficulty momentarily, and then went on again. Bailey may never see that man again, and as far as it concerns him, he may have lived his whole life to be sport for Bailey to watch for just a few seconds.

When Scene 4 opens, we see Bailey and the river on an uneventful day. Suddenly Bailey sees something in the distance in the fields on the far side of the river. He make out a man running his way, and it turns out to be one of the Malay servants of Fitzgibbon. A shot is fired, and Bailey realises that a manhunt is afoot. The man runs into our view, and then disappears downstream. Nothing more appears to be happening, when a commotion is heard from where the man has run, and he reappears, followed by a new set of pursuers. They chase him back upstream, just as the first party of chasers arrives. Fitzgibbon is among them, and they follow. The hunted man dives into the river and is once again hidden from view. All seems ms quiet, and Bailey laments not seeing the conclusion of the events. Suddenly Mrs Green arrives and is hysterical. Bailey is eager to know what she has to tell, but is disappointed with what she has to say. She was coming through the woods completely unaware of the fugitive’s presence, and only knew when she me met Fitzgibbon that anything was happening. She has been overcome me by her vulnerability. This disappoints Bailey, hoping for something far more interesting, Mrs Green chases perhaps. He asks her to get him something to eat, but in the middle of her protestations, something is in the tree outside the window. The fugitive climbs on to the deck and then into the window. Both Bailey and Mrs Green are helpless. A shot rings out, and the man collapses on to Bailey’s legs and dies. The party of men come in, comfort Mrs Green and start to clear away the body and debris. Fitzgibbon, with the rifle, did not really mean to kill the ma man, but Bailey is glad that he did. The scene darkens with Bailey, with the tiniest of grins on his face, staring at where the body had been.

• Young, A.: Through a Window; computer-set 

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• Young, A.: Through a Window; computer set 

  Full score | Pdf - computer set