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2 trumpets, horn, trombone, tuba

This work for brass quintet and narrator was written for the NZ Brass Quintet to perform in schools.

• Freed: A Nursery Tale; facsimile 

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• Freed: A Nursery Tale; facsimile 

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• Freed: The Circle and A Nursery Tale 

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Percussion: drumkit; mobile instruments; furniture; clothing (full details in score)

• Palmer: Blood Shower; computer-set 

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• Palmer: Blood Shower; computer-set 

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• Palmer: Selected Works I 

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solo clarinet

In many ways this is a companion piece to an earlier work, Vivid for solo trumpet, which also sets a powerful, sexually charged poem by Will Christie. But where Vivid is very often overtly violent and forceful in its gestures, deepwalker is mostly much subtler, almost passive-aggressive in outlook. The opening lines of the poem – “the day is a drum that connects these vocal loops with grey traffic circles bridge after bridge” – are mirrored in the cyclical, sometimes elliptical form of the work, loops and circles that play between registers of the clarinet. Sexual tension and aggression bubble away in the background, periodically rupturing the musical surface with piercing, angular outbursts, sometimes in parallel with the rather tender, fluid lines of the low register, and with the spoken text itself. This violent interplay creates a kind of disordered internal conversation, a bizarre hermetic character opening and shutting her windows; a clarinet of many voices.

Warning: contains coarse language

• Taylor: deepwalker; computer set 

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• Taylor: deepwalker; computer set 

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• Alex Taylor: deepwalker; audio 

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• Alex Taylor: deepwalker 

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flexible instrumentation up to 3333; 4331; 3perc, timp, piano, harp; strings

Earthquake: 22.2.11 began as a project after the September 2010 earthquakes struck Christchurch and surrounding districts. I was interested in capturing the peculiar sonic properties of the earthquakes – the unnatural preparatory calm, the low pitched boom, the change in air pressure, the accelerating rhythms, the creaks, the rattles, the cracks, the climactic shuddering of the building one was in, the decay of sound, and the silence before the cacophonous response of voices, alarms, telephones, sirens, police cars, ambulances, fire trucks and helicopters.

I successfully applied for Creative New Zealand funding to compose such a work for the Christchurch Symphony Orchestra and set to work late in 2010.

The earthquakes hadn’t finished though. On February 22, 2011, in New Zealand’s worst natural disaster since the 1931 Napier earthquake, a 7.2 earthquake centred on Christchurch killed 185 people and caused inestimable damage to the city’s buildings and infrastructure. Composing a dispassionate response was no longer appropriate; indeed, composing anything at all about the event seemed wrong, almost exploitative, in the face of the human tragedy.

I stumbled upon Gary McCormick’s poem Earthquake 22.2.11 shortly after he wrote it as a white-hot response to the devastation. I empathised with his anger and his railing at the randomness of the event. Even so, it took almost a year before I felt ready to set Gary’s poem to music. The catalyst was a further round of earthquakes beginning on 23 December 2011, in which further damage, including the destruction of our previous home, a beautiful Victorian dwelling I had helped restore in the 1990s, occurred to the city. Something like 10 quakes of magnitude 5 or more occurred while I was composing the score.

• Norman: Earthquake: 22.2.11; computer set 

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• Norman: Earthquake: 22.2.11; computer set 

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• Philip Norman: Earthquake (demo); audio 

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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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massed mixed voices, boy trebles, narrator, baritone solo, organ, percussion optional maori trumpet and powhiri

• Dellow: Fanfare and Finale; facsimile 

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• Dellow: Fanfare and Finale; facsimile 

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• Dellow: Fanfare and Finale; facsimile 

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for bass clarinet in Bb, alto flute
percussion — kick-drum, snare drum, low tom-tom, low woodblock, high woodblock, medium cowbell (muted), hi-hat, high ride cymbal, medium splash cymbal, thin metal sheet, cabasa, rainstick, tibetan bowl (F if possible), vibraphone, marimba;
narrator — amplified with microphone and/or paper megaphone and power megaphone;
piano (nylon fishing line rosined), violin and violoncello

“In the beginning, there was nothing. Just the water.”
“But where did all the water come from?”

Throughout Thomas King’s novel the character of the trickster Coyote reappears, hopelessly bamboozled, trying to learn what really happened when the world began. Who knows the Real Story? Coyote would like to think he does, but then there’s Coyote’s Dream – “gets loose and runs around. Makes a lot of noise”. Coyote’s Dream has his own idea about things: “I’m in charge of the world”. By the end of the piece, you’ll be wondering where all that water came from…

• Palmer: How it Happened; computer set 

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• Palmer: How it Happened; computer set 

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• Palmer: How it Happened; computer set 

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• Juliet Palmer: How it Happened 

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• Lilburn: Landfall in Unknown Seas; computer-set 

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• Lilburn: Landfall in Unknown Seas; facsimile 

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• The Lindsay String Orchestra of Wellington: Landfall in Unknown Seas and other works 

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• Lilburn: A Song of Islands and other works  Year: 1986 

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• Lilburn: A Song of Islands  Year: 1986 

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• Lilburn/Watson/Pruden: New Zealand Chamber Orchestra  Year: 1993 

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• Alex Lindsay String Orchestra  Year: 1998 

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The Love Sonnets of Michelangelo I wrote for Michael Parmenter, with whom I worked on a programme entitled Between Two Fires (also included was a dance-theatre work I created collaboratively with Michael, using his voice as well as his body, with imagery extracted from the diaries of Franz Kafka.) At the time I was focused on different styles of melody, having just completed my Five Melodies for Piano. Inspired by the lovely voices of some of the then current students in our School of Music, I felt that women’s voices gave the expressive quality I wanted, as well as providing a useful ‘cover’ for the overtly homo-erotic tenor of the texts. The original production used film, shot by my good friend Bayley Watson, showed the dancer’s prostrate figure, swathed in bandages. As the performance unfolded the cloth was gradually cut and pealed back by hands belonging to an old man whose face we never saw, the intended metaphor being of the sculptor cutting away marble to reveal the male form that he sensed already existed within the stone.

The work has since had other performances that have discarded the theatrical elements, most successfully when each setting is prefaced by a reading of the poem in translation.

These settings of some of Michelangelo Buonarroti’s most personal sonnets articulate the anguish of love and desire, as well as the despair of old age. The musical style combines the theatricality of Italian bel canto with the direct expressivity of folksong.

• Body: Love Sonnets of Michelangelo; facsimile 

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• Jack Body and Michael Parmenter: Love Sonnets 

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• Baroque Voices: How Great is the Pleasure   Year: 2001 

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• Waiteata Collection of New Zealand Music Vol. 6 - Composer Portrait: Jack Body  Year: 2003 

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1111;2110;3perc;pf/hd,hp;strs(no cb); tenor soloist does narration

• Body: Poems of Solitary Delights; facsimile 

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• Jack Body: Poems of Solitary Delights; audio 

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