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miscellaneous instruments/keyboards

Though written for beginners, these pieces are quite attractive, and could be programmed for other than beginners concerts!

• McLeod: 18 Easy Pieces; computer-set 

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A prayer for the twenty-first century woman is written for bass clarinet, two violoncellos and bassoon and consists of eight short movements. The title of the work comes from an article about the plight of a Rwandan refugee family, and each movement suggests an emotion that the family might experience in the course of a day as they deal with the process of survival. The work concludes with a prayer. The work was commissioned by the Composing Women’s Festival for Musicwomen Aotearoa and is dedicated to World Vision.

• Hulford: A prayer for the twenty-first century woman; computer set 

  Full score | Pdf - computer set
  

• Hulford: A prayer for the twenty-first century woman; computer-set 

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saxophone, trumpet, trombone, harpsichord, percussion (4 triangles, 2 cymbals, woodblock, guiro, ratchet, maracas, 2 bongos, 4 tom-toms, bass drum), viola, cello, bass

• de Castro-Robinson: A Resonance of Emerald; facsimile 

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• de Castro-Robinson: A Resonance of Emerald; facsimile 

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• de Castro Robinson: Works 1 

  Cassette
  
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clarinet, 2 violins, viola and cello

• Hall: a splinter of silence in the belly of time; facsimile 

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• Hall: a splinter of silence in the belly of time 

  Cassette
  
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• Neville Hall: Selected Works 

  CD
  
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for violin, cello and piano

In January 1998 Gareth Farr was commissioned by the James Wallace Chariable Trust to write this Piano Trio for the Ogen Trio, a leading NZ ensemble. Taking its subtitle Ahi from the Maori word for “fire”, it received its debut performance in Auckland, NZ in March 1998 in the presence of the composer. The style of the work varies in each of the four movements: the flavour of a French lullaby predominates in the first; an intense and unrelenting second movement harbours overtones of a Russian military factory; whilst a Balinese pop-inspired fourth movement contains numerous gamelan-like effects. The brief third movement is merely a quiet interlude, with a melodic reference to the first movement. The composition stands in stark contrast to Farr’s previous works. He has experimented with stripping away the density characteristic of past compositions in favour of clearer textures, exploring classical form, and allowing a simplicity of line to come through and speak for itself.

• Farr: Ahi; computer-set 

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• Gareth Farr: Ahi; video 

  Media on Demand | External - video
  

• Gareth Farr: Ahi; audio 

  Media on Demand | Embedded
  

• Ogen Trio - Piano Trios by Beethoven, Dvorak and Farr  Year: 1999 

  CD
  
  $30.00
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• New Zealand Trio - Spark  Year: 2004 

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• Ahi - The Ogen Trio  Year: 2008 

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piccolo, 3 flutes, 3 oboes, 4 clarinets, bass clarinet, 2 alto saxophones, tenor saxophone, baritone saxophone, bassoon, 2 horn in F, 3 trumpet, 2 trombones, euphonium, tuba, string bass, timpani and percussion

An Emily Dickson Suite takes the form of nine vignettes inspired by the eight poems. I chose these particular poems not to fulfill any kind of programme or theme, but because they were the ones that spoke most strongly to me in musical terms at first reading.

In order to get to know the poems I initially set them as if the choir and then used the wind ensemble palette to better capture the contrasting moods and spirit of each poem. in most cases it is still possible to hear clearly the patterns of the words within the melodies. So in a real way these vignettes are ‘songs without words’. Dickson did not give her poems titles. However I have titled each of the vignettes from the first line of each poem.

Christopher Marshall

• Marshall: An Emily Dickinson Suite; computer-set 

  Full score | Pdf - computer set
  

• Marshall: An Emily Dickinson Suite; computer-set 

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guitar and ensemble (2-6 players) - instrumentation is flexible (and suggested size is also only a suggestion)

• Brownlee: As if to catch the fleeting tail of time; computer-set 

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• Brownlee: As if to catch the fleeting tail of time; computer-set 

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• Philip Brownlee: As if to catch the fleeting tail of time; audio 

  Media on Demand | Embedded
  

• Philip Brownlee: As if to catch the fleeting tail of time; video 

  Media on Demand | Embedded
  

• Philip Brownlee: As if to catch the fleeting tail of time 

  Digital sound file - MP3
  

• Two pieces by Philip Brownlee 

  CD
  

Broken Glass portrays a dialogue between two opposing natures about the passing of beauty as represented by the two instruments of guitar and violin. It is a meditation on how two people create the ending within themselves for their mutual story, and collaborate through both tension and surrender to bring that ending to life.

• Goss: Broken Glass; computer-set 

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• Goss: Broken Glass; computer-set 

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• Thomas Goss: Broken Glass 

  Digital sound file - MP3
  

for piccolo, koauau (or second piccolo), flute, clarinet in B flat, percussion, marimba, vibraphone, harp and piano

My brother and his partner had two black cats, Doris, the elder (and undisputed boss), was half the size of Stanley. The cats arrived one day quite unheralded, realised they were onto a good thing, and promptly settled down as rulers of the house. In old age Doris went slightly spastic and wonky. We all thought she would go first, but she lived my brother.

Jenny McLeod

• McLeod: Cat Dreams; computer-set 

  Score and parts | Pdf - computer set
  

• McLeod: Cat Dreams; computer-set 

  Score and parts | Hardcopy - computer set
  
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• McLeod: Cat Dreams; computer-set 

  Full score | Pdf - computer set
  
  $36.00
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• McLeod: Cat Dreams; computer-set 

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flute, oboe, clarinet, horn, bassoon and piano

Clairmont Triptych was written in fulfilment of a commission by Chamber Music New Zealand for the Auckland Wind Quintet with pianist David Guerin to perform on a New Zealand tour in 1988.

The music derives its inspiration and impetus from the work of the New Zealand painter Phillip Clairmont (1949 – 1984). He was something of an enfant terrible of the New Zealand art world, living his life and his painting with a reckless passion and energy. His work is vibrant and strong, conveying an intense and energetic power. Aspects of these elements are captured in the music, although it is not programmatic, but connects with paintings through analogy and allusion. Amongst the profusion of themes and ideas there are two prominent recurrent subjects in Clairmont’s work – the domestic interior and the self portrait. These form the thematic base of the first two of the three inter-linked movements of the work. The first movement, Interiors, mirrors the fractured vibrancy of the Clairmont interiors by use of a very fast toccata-like movement in sequences of fluctuating tempo. This creates a continuously “flexing” aural effect which reflects the unsettling quality of the images. The second movement, Self Portraits, uses a recurring three note motif C-B-Bb. These are the composer’s initials (C-H-B in German), thus the self portrait becomes ambiguous. The music seeks to realise to an extent the technique and viewpoint of the self portraits. The third movement, Jimi Rocks, refers to the influence of rock music on Clairmont’s painting, particularly during his studies and the early part of his career in Christchurch. The three movement formal structure is a musical equivalent of the triptych format Clairmont often used in his painting.

• Blake: Clairmont Triptych; computer set  Year: 1995 

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• Waiteata Collection of New Zealand Music Vol. 2 - Chamber Music  Year: 1997 

  CD
  
  $15.00
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