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13 was inspired by the Renaissance art I saw while studying and travelling in Italy in 2009 – 10. I was taken with the bold depictions of martyrs with the attributes of their lives and deaths.

13 is a set of 13 variations on a theme first presented by the organ. Each variation is based on one of the thirteen present at the Last Supper. The details of their lives are often sketchy, and sometimes sit somewhere between fact and legend. The order is as follows:

Theme
Var. I
St Simon Zealotes – Revolutionary; went to Armenia and Persia; sawn in half.
Var. II
St Thomas - Doubted Christ’s wounds; went to India; pierced with lance.
Var. III
St Philip – Sober-minded; went to Greece and Phrygia; crucified upside-down.
Var. IV
St Bartholomew - Honest; went to Armenia; flayed alive.
Var. V
St Jude Thaddeus – Farmer; went to Syria and Armenia; clubbed to death.
Var. VI
Judas Escariot – The betrayer; eternally punished; hung himself.
Var. VII
St James the Great – Fiery temper; ‘Son of Thunder’; Judaea; beheaded.
Var. VIII
St James the Less – Brother of Christ; Jerusalem and went to Egypt; thrown off temple.
Var. IX
St Matthew – Tax collector; accompanied by an angel; Ethiopia and Persia; martyr.
Var. X
St Andrew - The first-called; went to Ukraine and Black Sea; crucified on saltire.
Var. XI
St John – Author of Revelations; ‘Son of Thunder’; went to Asia Minor; died of old-age.
Var. XII
St Peter – Holder of the keys to the Gates of Heaven; went to Rome; crucified upside-down.
Var. XIII
Apotheosis

• Anthony Young: 13 - Theme and Variations - hardcopy score 

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• Norman: A Lion in the Meadow; computer-set 

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• Norman: A Lion in the Meadow; computer-set 

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During 2007 I spent a lot of time making field recordings of background noise in Paris, and analysing the spectral and rhythmic content of those recordings. I found the more I listened to my recordings, the more musical material I found hidden in these background hisses and hums, chatterings and otherwise banal noises: rhythms, mysterious melodies, energies and harmonic tensions. While working on this commission for the NZSO, I decided to try to capture the intrinsic musical essences I could hear in my field recordings, and interpret those sounds in an orchestral context, with the juxtaposition of the original noise recordings finding musical relationships in the orchestral counterpart. The resulting piece is a conjuring of various energies, or furies, caught in the background noise of Paris, and finding their way into the back of my throat to be sung into a quiet fury.

Lissa Meridan

• Meridan: a quiet fury; computer-set 

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• Meridan: a quiet fury; computer-set 

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• Meridan: a quiet fury; computer-set 

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• Meridan: a quiet fury; computer-set 

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• Meridan: a quiet fury; electronic part 

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• Meridan: a quiet fury; electronic part 

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• Nock: Aotearoa; facsimile 

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• Nock: Aotearoa; facsimile 

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• Ritchie A.: Autumn Concerto; facsimile 

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• Meridan: blast; computer-set 

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• Meridan: blast; computer-set 

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• Lissa Meridan: blast!; audio 

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It is impossible to live in Wellington without paying attention to its environment, or the environment paying attention to you. Equally, it is impossible to leave without carrying an interior imprint of its sharp green hills, scudding clouds, dragon sea, and particularly for me, those days when it suddenly all stops leaving the city suspended between a hush of blue sky and a seemingly frozen harbour. Blue Kisses Green is somehow ‘about’ this elemental ferociousness, delicacy, and beauty.

• Dugal McKinnon: Blue Kisses Green (Mono) 

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• McKinnon: Blue Kisses Green (Stereo) 

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• McKinnon: Blue Kisses Green 

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• McKinnon: Blue Kisses Green; computer-set 

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• McKinnon: Blue Kisses Green; computer-set 

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“Where do words go when the sound of them has died?” (Keri Hulme). With onomatopoeic words we can linger on the actual sound of the word and then the imagination considers how the sound was produced. There is a bewildering array of sounds and instruments available to the composer who writes music for percussion. I am one of those annoying people who, upon seeing an interesting object, immediately wants to hear what sort of noise it makes. In choosing the instruments for the soloist in Bonk I wanted to have a unified sound world and so made a decision to restrict the instruments to those made of metal. The result would be a piece with industrial and machine-like characteristics but there is also an element of fantasy and sounds which could adorn the world of Oberon and Titania. The sounds of metal percussion are full of variety and range from pitched instruments such as the vibraphone, glockenspiel, gongs, brake drums and cowbell through to those which make unpitched noise such as the cymbals, tam tam, spring coil, mark tree and rainstick. The orchestra in Bonk serve to enhance the soloist by adding to the attack or resonance of the percussion instruments, thereby giving the process of composition much in common with sound design. The orchestral writing also utilises the sound spectrum from clearly pitched or melodic music through to clusters where the priority is noise rather than harmony. Bonk explores density of sound. The thin transparent music of the glockenspiel solo contrasts with densely layered structures. The rhythms in Bonk are built on the simple repeating idea of short-long-short-long. In jazz this is called “swing”. In Bonk different degress of wing are explored by varying the ratio between the short and long duration and then these are layered against a common pulse. The strict notation creates an amalgam of independent tempos.

I would like to finish those note with two quotations. Firstly, the words of Quince iin his prologue to the play within a play from Midsummer Night’s Dream by Shakespear: “If we offend, it is with our good will. That you should think, we come not to offend, but with good will. To show our simple skill, that is the true beginning of our end.” And from Mondy Python team – “Ah, I see you have the machine that goes ping!”

Peter Scholes

• Scholes, P.: Bonk; computer-set 

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• NZ Premieres 2008 Vol. 3 

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• Cree Brown: Celestial Bodies; computer-set 

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• Cree Brown: Celestial Bodies 

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An essay in tension between soloist and orchestra. In the first movement long cello solos are contrasted with outbursts from the orchestra; in the second movement cello and orchestra merge – the cello sound coloured by various doublings; and the last movement is a moto perpetuo again contrasting soloist with orchestra. Premiered by cellist Alexander Baillie, conducted by Matthias Bamert and the Scottish National Orchestra.

• Cresswell: Cello Concerto; facsimile 

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• Lyell Cresswell: Orchestral Music -1  Year: 1991 

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