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1 piccolo, 2 flutes, 2 oboes, 2 clarinets in B flat, 1 bass clarinet in B flat, 2 bassoons, 4 French horns in F, 2 trumpets in C, 2 trombones, 1 bass trombone, timpani, percussion 1: suspended cymbal, percussion 2: triangle, harp, vibraphone, strings

A message to Han Cho (the Yangzhou magistrate) for orchestra was inspired by the Chinese poem, A message to Han Cho by Du Mu (803-852AD, China) in the Chinese Tang dynasty. In this poem Du Mu expresses the sadness of the magistrate yearned for the day to return to his distant love. This orchestral work contains musical ideas influenced by the Eastern culture and utilising Western orchestration to imitate the sound of Chinese instruments (Chinese zither and vertical bamboo flute) to purposely maintain the cultural connection with the original tenor of the poem. To achieve this synthesis I experimented with the pronunciation of the poem in Mandarin, and then compose the melodic lines to suit the four-line poem which became the theme of the music. The image of a fair lady plays the flute under the moon on the Twenty-Four Bridges is a traditional Chinese painting specially selected for this particular poem.

青山隱隱水迢迢, From mist the green hills emerge and afar the river flows,
秋盡江南草木凋. grass still grows in Jiangnan, yet the end of fall is close.
二十四橋明月夜, Over the Twenty-Four Bridges the bright moon glows,
玉人何處教吹簫. where the fair lady teaches the flute no one knows.

• Chen: A message to Han Cho; computer-set 

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• Chen: A message to Han Cho; computer-set 

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1(1)1(1)1(1)2; 4231; timp., 2 perc.; strings

‘Alegria’ is an education piece for children of primary school age. It focuses on aspects of rhythm and ostinato, and it is based on the flamenco principle of 3+3+2+2+2 (12 beat cycle). Flamenco music is based on Spanish gypsy music, and is often accompanied by clapping, so there are clapping parts included for members of the orchestra. The audience may learn the simple clapping patterns so they can accompany the orchestra when they hear the patterns. The central section in 5/8 is intended as an asymmetrical contrast to the duple and triple meters of the outer sections. “Alegria” means ‘joy’ or ‘happiness’ in Spanish.

• Grenfell: Alegria; computer-set 

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• Grenfell: Alegria; computer set 

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• Maria Grenfell: Alegria and River Mountain Sky 

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2(1pc)222; 4210;timp (3), 1-2perc (sd-dr,tri,xylo, sus cym, tamb), pf,hp; strs

This is a lively 9-minute piece is written for a full-sized amateur orchestra. It evokes the music of East European bagpipes, which the composer experienced while studying in Budapest, in 1984.

• Ritchie A.: Balkan Bagpipes; facsimile 

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This work was written before and after a visit to Colyton, where a cousin of the composer has a farm, and whose daughter was playing ’cello in the orchestra at the time. He intended the work to reflect the rural open spaces that provide welcome relief for a city-dweller.

• Hinds: Colyton Overture; facsimile 

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for solo percussion: triangle (medium size), cow bell, three suspended cymbals (small, medium and large), four temple blocks, a pair of bongos, four roto-toms and xylophone (or marimba); 3120; tenor sax; 0221(opt.); strings

This short work was written for the orchestra of Auckland Grammar School and a talented senior student percussionist. It is in a straight-forward tonal style, including a cadenza for the soloist.

The work consists of three main ideas. Follow a short introduction the xylophone presents the main melodic material of the first idea. The 2nd main idea is chromatic chord that builds through the orchestra several times. Against this the percussion has more angular melodic material and more syncopated rhythmic ideas. The second section builds to a climax which immediately gives way to the 3rd section which is fugal. The melody from the 1st section re-appears, not as the fugue subject, but rather as the counter-subject of the fugue. This section mainly features the woodwind section of the orchestra interacting with the percussionist. The fugue winds down into a short cadenza for the soloist, and then material from the opening two sections is recapitulated in abbreviated form. The music builds to a final climax.

The percussion part avoids exotic or unusual instruments, favouring basic equipment found in most school music departments with an active instrumental programme. The only tuned percussion instrument is a xylophone, with the remainder being a mix of wood, skin and metal instruments.

• Hamilton: Concertino for Percussion and Chamber Orchestra; computer-set 

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• Hamilton: Concertino For Percussion and Chamber Orchestra; computer-set 

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• Hamilton: Concertino for Percussion and Chamber Orchestra; computer-set 

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• Hamilton: Concertino For Percussion and Chamber Orchestra; computer-set 

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2222; 222; timp; 2perc; strings

The title of this piece translates: "My God, my God, why have you forsaken me?” These were some of the last words spoken by Jesus before he died. It is based on the idea that within everyone there is a desire for more from life, and at times it feels like God has betrayed us.

• Gilmour: Eloi, Eloi, lama sabachthani?; computer-set 

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• Gilmour: Eloi, Eloi, lama sabachthani?; computer-set 

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• 2008 NZSO/Todd Corporation Young Composer Awards 

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Four pieces within the reach of an amateur ensemble; they provide a gentle introduction to four different 20th century styles. Four pieces within the reach of an amateur ensemble; they provide a gentle introduction to four different 20th century styles.

• Utting: Four Poems for String Orchestra; facsimile 

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• Utting: Four Poems for String Orchestra; facsimile 

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• Utting: Four Poems for string orchestra; facsimile 

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2232;3431; 2 alto sax; 1 tenor sax; 1 baritone sax; timp (3); 2 perc; string bass; also optional extra parts for euphonium and bass clarinet.

This work attempts to shake off ‘the blues’ with playful and vigorous musical ideas. It starts slowly and in sombre mood but this is quickly swept aside by a jolting ‘allegro’. A number of motivic-like themes are presented, and linked together during the piece. The syncopated idea at the beginning recurs as a kind of rondo theme in this one-movement work. ‘Goodbye to Blues’ was commissioned by the Christchurch Youth Symphonic Band and CSM, with funding from Creative NZ. It was first performed on the band’s tour of Hawaii, in 1992. While presenting some challenges to younger players it is not overly demanding in terms of technique.

• Ritchie A.: Goodbye to Blues; facsimile 

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2222; 4321; timp.; 3 perc; strings

Gumboot Waltz pays tribute to an iconic Kiwiana, with a few beats added to this traditional dance to accommodate the clumsiness of the heavy-duty footwear.

This piece was given its first public performance by the Burnside High School Orchestra in 2005 and subsequently recorded by the New Zealand Symphony Orchestra at the 2006 NZSO/Todd Young Composer Awards.

• Lin: Gumboot Waltz; computer-set 

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2(+picc)222,2231, timp, 2 perc, keyboard (or harp and celeste), piano, string

• Holmes: In the Lair of the Cave Weta; computer-set 

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• Holmes: In the Lair of the Cave Weta; computer-set 

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• Holmes: In the Lair of the Cave Weta; computer-set 

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