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Juliet Palmer  

Cypress

Duration: 35' 00" Year: 2002
for double bass and bass clarinet

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David Farquhar  

Fives

Duration: 13' 00" Year: 1971
for 5 dancers and 5 instruments

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Dorothy Buchanan  

Just Looking

Duration: 24' 00" Year: 1987
music for dance, for trio

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Ronald Tremain  

Murder in the Cathedral

Duration: 20' 00" Year: 1962
incidental music for radio play

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Dorothy Freed  

Sounds and Winds of Wellington

Duration: 15' 00" Year: 1988
pastiche or farce for narrator and chamber ensemble

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Alex van den Broek  

Still Standing Silent

Duration: 50' 00" Year: 2009
for four musicians and a contemporary dancer

Video Sample
  • Instrumentation
    for B flat clarinet, tenor saxophone, percussion, contrabass - there is improvisation within set structures mostly for the tenor saxophone and contrabass
  • Programme Note

    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

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Michael Norris  

TIMEDANCE

Duration: 38' 00" Year: 2012
Live score for dance-film, in collaboration with choreographer/filmmaker Daniel Belton.

Score Sample
  • Instrumentation
    two violins, cello and piano
  • Programme Note

    Time is cut open. Time is dismantled. It is this gateway that we open and close to really observe movement, and to glimpse Spirit. In this work it is the reunion of separated or broken parts that finds fluidity and wholeness. The compass of the dance is given full articulation in this state – we can appreciate the elegance and the mastery of the human form in space.

    Time Dance is in one sense a study of the dancer in action. Sinews of time – this is the algebra. It is not only examining but also restoring – reuniting from fragments of time – these pieces of time are coalescing to make the dance. When the figure pauses, the cascading echoes created through dance catch up with it. These are the monuments. When we catch up with ourselves we create a harmonic in space time. It is another way of celebrating being human. In the work we observe the relationship and sense of belonging to our home planet, Earth. This is geological, and thalassic – like a great cloak of emotion, the geometric grids and moving point maps are energetic prints containing our stories, our journeys, our pain, fear, beauty, love and joys. They are rippling beyond time, across time with the emotional frequencies that make up what it is to be human. This is also a dance. Time will quiver. I want to magnify silence and distort stillness. The geometry is a field of consciousness. Ultimately our physical bodies are the products of wave actions. The shadow is going into a wave space – and that alters the way we see everything.

    Source: http://www.michaelnorris.info

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Stephan Schulz  

Transmigration - Reincarnation of a Nightmare

Duration: 14' 00" Year: 1989
a dance work using sextet and actors

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Simon Eastwood  

(un)seen

Duration: 09' 00" Year: 2011
for alto flute/piccolo, cello and percussion (2 woodblocks and a cowbell)

  • Programme Note

    seen was written as music for dance in collaboration with choreographer Justyna Janiszewska. It explores the boundary between what is seen and unseen, know and unknown, heard and unheard. The music for this piece is built upon ideas influenced by gamelan music, mainly the idea of building a rhythmic texture up from the one rhythmic line layered on to of itself at different speeds. Each section explores a different aspect of the relationship between these different layers. However, this rhythmic framework itself is never fully exposed, and so itself remains unheard while it exerts an influence on the piece from a distance.

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Ronald Tremain  

War of the Newts

Duration: 15' 00" Year: 1961
incidental music for radio play for chamber ensemble

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