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This humorous piece could only have been conceived by a slightly warped mind! The title is a play on the 5/8 time signature and on the syncopation and ‘sinking’ theme evidenced throughout the music. Motivic devices such as inversion and retrograde are used extensively. The original version of the work was composed for mandolin and piano and performed in New Zealand in 1962.

• Twomey: Cinc!; computer-set 

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• Twomey: Cinc!; computer-set 

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• Twomey: Cinc! (Opus 5); computer-set 

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• Twomey: Cinc!; computer-set 

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• Reflections - Music Composed by Ray Twomey 

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• A New Dawning  Year: 1999 

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Scored for flute, clarinet, vibraphone/marimba, piano, violin, viola and cello, this piece was written for performance by members of the Stockhausen’s ensemble, including parts designed specifically for Aloys Kontarsky, Siegfried Palm, and Cristoph Caskel, who, at the time, were the world’s leading performers of contemporary music. To the composer it seemed unlikely the work could ever be played in New Zealand, although it is noteworthy that Douglas Lilburn chose this as the first score to publish under his newly founded Waiteata editions imprint, such was his admiration for the composer’s achievement. However, with growing numbers of skilled and committed performers in New Zealand, ‘For Seven’ eventually received its New Zealand premiere in 1992, by the new music ensemble CadeNZa. Since then it has had several other fine performances here, and well as others in Europe. Recognition of the work’s status within our musical canon can be judged from the simultaneous CD publication of two different versions of the work, one by the UK-based ensemble Lontano conducted by Odaline de la Martinez, and another by Stroma. ‘For Seven’ was one of the first pieces to combine elements from the two major European schools of the time – the Eastern European cluster music, and the serialism of Boulez and Stockhausen. The piece consists of various lines of composed accelerandi and ritardandi, determined by a network of simple numerical ratios. These ratios also govern other aspects of the piece, such as the lengths of sections and the pitch intervals used. Combined with the highly structured ‘foreground’ material is more amorphous ‘background’ material (including some improvisatory elements), with frequent interaction between the two. Though the construction of the piece is complex, the result had a natural musicality and flow. McLeod has said that, although she was not conscious of it at the time of composition, she now hears clearly the influence of the sounds of the New Zealand bush. (Programme note: Mark Jones).

• McLeod: For Seven; facsimile  Year: 1967 

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• Lontano: New Zealand Women Composers 

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• Waiteata Collection of New Zealand Music Vol. 5 - Composer Portrait: Jenny McLeod 

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• Whitehead/McLeod  Year: 1972 

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Octet

Composed in 1964, this wind octet is in three contrasting movements and is scored for the classical combination of pairs of woodwind and horns.
The work has as its inspiration the classical octets of Mozart and Beethoven although the main compositional influences come from the 1930’s ‘neoclassical’ soundworld of Stravinsky and Copland.

Octet was first performed at the Cambridge Music School in 1965.

• Rimmer: Octet; computer set 

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• Rimmer: Octet; computer set 

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• Carr: Quintet; facsimile 

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• Carr: Quintet; facsimile 

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• Body: Turtle Time; facsimile 

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• Chamber Works Vol 1 (NZ Composers Edition) 

  Vinyl (LP or EP)
  

• NZ Flora Series Vol 4  Year: 1985 

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