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M Louise Webster  

An Infinite Shore

Duration: 20' 00" Year: 2011
Clarinet quintet in three movements

  • Instrumentation
    Bb Clarinet, string quartet
  • Programme Note

    This work for clarinet quintet in three movements was written following time spent in the north of Scotland, during which I visited the remote and desolate places that my family left behind when they emigrated from Scotland to New Zealand in the 19th Century. Although the music is not intended to be strictly descriptive, the image underpinning the work is that of an infinite shore that stretches from the line of steep cliffs at Badbea overlooking the North Sea, around the world to the rocky southern shores of Aotearoa New Zealand. The work draws on the tonal colour and extremes of pitch that are possible in the clarinet, and the extraordinary platform of sound of the string quartet.

  • Availability

Chris Adams  

Art Miniatures

Duration: 20' 00" Year: 2010
for flute and piano

Stephan Prock  

Cages for the Wind

Duration: 20' 00" Year: 2012
a song cycle for soprano and orchestra

Stephan Prock  

Cages for the Wind

Duration: 20' 00" Year: 2010
a song cycle for soprano and piano

  • Instrumentation
    also available for soprano and orchestra
  • Programme Note

    One afternoon Margaret Medlyn and I sat across her kitchen table to discuss poems I might set as the basis of a song cycle for her. She produced quite a stack of New Zealand poems for me to consider: among the items in this pile was a slim, rather unassuming little volume by Alistair Campbell titled Galliploi & Other Poems. Whilst Gallipoli naturally conjures up powerful socio-historical associations for all New Zealanders, I was almost immediately drawn to the second set of poems in the book titled Cages for the Wind and decided to set the last five poems in the collection as a cycle. What struck me most, and still seems so fresh now, was Campbell’s talent for evoking deeply powerful images and feelings in poems of matchless delicacy and subtlety. This understated approach is what drew me to a poem like “Whitey” in which Campbell couches a rumination on death in what appears to be at first an almost whimsical remembered dialogue with a blackbird (the eponymous Whitey) that used to frequent his garden. Most important for me as a composer, though, was the immediately singable lyricism of the poems. I distinctly recall the way, as I began reading it, “Words and Roses” (the first song, and one of Campbell’s most famous poems), began to suggest musical atmospheres and vocal lines unfolding in my mind like buds of roses unfurling their petals. When poems being to sing themselves to me, I know I have found the right material.

    This work was the recipient of the “Director’s Choice Award” in the Boston-International Contempo Festival’s International Composers’ Competition.

  • Availability

Tabea Squire  

Contemporary Duets

Duration: 20' 00" Year: 2010
a series of didactic duets targeted at tertiary violinists, covering the particular difficulties in learning contemporary music

Neville Hall  

eye-glitter out of black air 3

Duration: 21' 00" Year: 2011
for wind quintet and orchestra

  • Instrumentation
    wind quintet (alto fl, ca, cl, bsn, hn); orchestra: 2 fl, 2 ob, ca, cl, bass cl, bsn, 2 hn, tpt, 4 tbn, tuba, 2 perc, harp, piano, strings (10,0,10,10,6)
  • Programme Note

    eye-glitter out of black air 3 is part of a cycle of works written for the Slovene wind quintet Slowind. To date, the cycle includes two wind quintets and solo pieces for each of the five members of the wind quintet. All of the chamber pieces from the cyle were peformed by Slowind at the Slowind Festival 2010 in Ljubljana, Slovenia.

  • Availability

Chris Gendall  

Triple Concerto

Duration: 20' 00" Year: 2012
for violin, cello, piano and orchestra

  • Instrumentation
    violin, cello and piano soloists & orchestra: 2222, 4330, timp. 2perc, strings.
  • Programme Note

    Although the five movements of this piece traverse a variety of sonic terrain, they amalgamate to explore the distinction between diffused sounds and those in close proximity in rhythmic, harmonic and physical space.

    Apart from the third movement, which is a short interlude for trio alone, the names of the movements toy with the usual associations of such titles: the first movement’s “Procession” is from stage to audience. Nobody enters, but the music itself. The “Ritual” is one of frantic pursuit. The “Chorale” exploits some spontaneous (and often gnarly) voice leading. This is where the brass make their major contribution from their positions scattered around the hall. “Circuits” describes both the distribution of sound around the ensemble and some subtle, ever-decreasing circles of harmonic material.

    The “Orchestra Tacet” allows the NZTrio more prominence in a cadenza-like movement requiring some virtuosity to give the sense of sliding in and out of coherence. “They play a kind of music that seems to be constantly forgetting and then recovering its memory,” Gendall says.

  • Availability

Lyell Cresswell  

Triple Concerto

Duration: 26' 00" Year: 2012
for violin, cello, piano and orchestra