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Lachlan McKenzie  

Alice in Wonderland - a ballet suite

Duration: 21' 00" Year: 2003
a ballet suite for orchestra

Michael Vidulich  

Aotea Suite

Duration: 20' 00" Year: 1987
for string orchestra

Jack Body  

Bamboo Music for eight players

Duration: 20' 00" Year: 1979
for 8 musicians playing bamboo instruments

Dorothy Buchanan  

Carnival of New Zealand Creatures

Duration: 20' 00" Year: 1999
for narrator, singer, flute, clarinet, cello, guitar, percussion

David Hamilton  

Christmas Crackers

Duration: 27' 00" Year: 2007
a song cycle for solo soprano, SA(T)B choir, and piano with optional harp

  • Programme Note

    This cycle of pieces was written for South Auckland Choral Society’s end of year concert which I was invited to conduct in 2007. The original request was for a concert of New Zealand music, but beyond a number of short Christmas pieces there is little in the way to extended seasonal music by New Zealand composers. I offered to write something new for the concert, to complement Britten’s A Ceremony of Carols.

    Having already written a Christmas cycle for a similar choir the same year, I was keen to move away from texts about the trappings of the Christmas story. I finally found a number of texts about children and their relationship to Christmas. Surrounding these texts are some more traditionally focussed texts. Inevitably it was hard to avoid poetry with images of snow, bells and stars.

    The first poem is a traditional Afro-American spiritual text and sets the scene by telling of Mary and her baby. In order to give the men of the choir something worthwhile to do in the rehearsal (white the women worked on the Britten), I decided to feature them in several pieces. The second text, “Children’s Song of the Nativity”, is really a series of questions such as a young child might ask: “What will we see? Can we go in?” The third text, for unaccompanied men’s voices, is the despairing pleas of a young man who desperately wants to be something significant in the nativity play this year. The fourth text sets Eleanor Farjeon’s “Advice to a Child” – some suggestions as to ways in which Christmas might be prepared for.

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Kit Powell  

Concerto for Two Violins, Strings and Percussion

Duration: 25' 00" Year: 1989, r. 2004

David Farquhar  

Contrapuncti

Duration: 26' 00" Year: 2003
for piano

Annea Lockwood  

Ear-Walking Woman

Duration: 22' 00" Year: 1996
for prepared piano with amplification

  • Programme Note

    For prepared piano and exploring pianist, uses the classic piano piano preparations: coins (to detune the strings), screws, wiring insulation sheathing, plus bubble wrap, a rubber ball and small wooden balls, two round stones, a bowl gong, mallets and a water glass. The piece was commissioned by Lois Svard, to whom it is dedicated and who has given many superb performances of it.

    When I started experimenting with these objects on my own piano, I found that even slight changes in the method of producing a sound evoked striking variants in sonic details, for example: rocking a stone gently between two sets of strings brins out several pitches and their overtones, iterating in unpredictable rhythms. Getting the stone to rock really hard adds higher pitches and at times the stone will turn over, setting of a new set of strings and pitches, which gradually fade away as the stone comes to rest.

    The work is set up as an open-ended exploration, in which have determined which ‘tools’ are to be used in each section, and the pianist is asked to listen closely to the sounds created by each action, and to explore further the variants which arise when she or he uses a little more pressure and change of speed, a slightly different wrist position, a different make of piano. I think of this experience as “ear-walking”, like a hiker exploring a landscape.

    Annea Lockwood

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Murray Biggs  

Four Oriental Pieces

Duration: 28' 00" Year: 1983
for flute and percussion

Hugh Dixon  

Lyric Sketches

Duration: 21' 00" Year: 2004
for flute, violin, horn, and cello

  • Programme Note

    Lyric Sketches had its genesis in a suggestion from the composer’s son, Michael, to arrange my Songs of Mystic Jade for his quartet, Locana.

    This cycle of structurally-related songs with the inclusion of Anthem to the Dawn and The Babbling Brook became a suite of eight pieces. The suite begins with Anthem to the Dawn inspired by a poem the composer’s wife, Rae, wrote a number of years ago. The grandioso section of the final movement, Motion, posed a problem in orchestrating the rolling arpeggios with sustaining pedal of the original piano part. I acknowledge Michael’s suggested solution which helped to retain a similar effect within the limitation of the four instruments.

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