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• de Castro-Robinson: A Mob of Solid Bliss; facsimile 

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• Hextall: Beating Cry; computer-set 

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• Hextall: Beating Cry; computer-set 

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Bliss Mechanism is a play with the concept of false/true emotional states. The goal is to express a sense of irony contrasted with glimpses of deeper, more spacious, spontaneous/authentic emotion. Irony and pathos are the two principle ideas at play. The emergence of one conquering the other is an import aspect of the piece. The fast rhythmic sections should be played with a relentless, almost desperately positive, energy.

• Downes: Bliss Mechanism; computer-set 

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• Downes: Bliss Mechanism; computer-set 

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• Downes: Bliss Mechanism; computer-set 

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• Downes: Bliss Mechanism; computer-set 

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• Harris: contra-music; computer-set 

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• Harris: contra-music; computer-set 

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“Have you ever lost your mouth or anything in that small area… your lips, your teeth, your tongue, your tonsils? The throat … everything around there. You’d be in deep stew, yes. … " Patti Labelle, Moon Shadow

Listening to the Hammond-centred sound of the Peddlers in my parents’ car in 1974, I’d feel positively queasy. Ransacking my Dad’s cassette collection a few years, I stumbled across some of this old ‘driving music’. Somehow I no longer felt nauseous when I listened to it. Around the same time I bought my brother a collection of Rare Groove for his 30th birthday. One of the stand-out tracks is of Patti Labelle singing her version of Cat Stevens’ Moonshadow. The central section is an insanely long rant by Labelle in which each of the musicians solo (including a fabulous Hammond improv). Deep Stew takes it title and its spirit from this crazy sequence of what if’s.

Commissioned by the Composers’ Association of New Zealand with funds from the QEII Arts Council, Deep Stew was premiered in 1994 at Wellington Town Hall, New Zealand and revised in 1997. The Bang on a Can All-Stars gave the work its American premiere in 1995 at New York’s Lincoln Center.

The current arrangement (1997) is a new revised version written especially for the California EAR Unit.

• Palmer: Deep Stew; computer-set 

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• Palmer: Deep Stew (r. 1997); computer set 

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• Palmer, Juliet Kiri: Selected Works II 

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Crisp, quiet bubblings quickly escalate to organised chaos, only to be disconcerted by the trombone. Eventually restraining the woodwinds, the trombone comes to the fore with a slow melodic passage. Reminders of the opening effervescence gradually infect the calm, boiling to a frenzied finish.

• Morgan: disconcerted effervescence; computer set 

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• Morgan: disconcerted effervescence; computer set 

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• Works by Rachael Morgan 

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• Disconcerted Effervescence  Year: 2005 

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• Larry Pruden: Collected Edition Volume 2 - occasional music for brass 

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• Shepherd: Fantasia; facsimile 

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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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This piece is a musical foundry. My focus is on metal: sawn, hammered, melted, poured, moulded, cast, polished… The melodic material is based on pitch analyses of the sounds of drilling, hammering and sawing. I want to melt the material down to a metallic gleam. Foundry was commissioned by Continuum with funds from the Laidlaw Foundation.

• Palmer: Foundry; computer-set 

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• Palmer: Foundry; computer-set 

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• Palmer: Foundry; computer-set 

  Parts - written | Pdf - computer set
  

• Palmer: Foundry; computer-set 

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