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Juliet Palmer  

5 Cactus Dreams

Duration: 05' 00" Year: 1988
for voice and chamber ensemble

  • Instrumentation
    vocalist, oboe, tenor saxophone, viola, cello, cactus and camera flash. Performed in darkness with light flashes to trigger each movement - performers also walk while playing.
  • Availability

Chloe Moon  

A Crown of Windflowers

Duration: 07' 00" Year: 1981
for unaccompanied treble voices

David Farquhar  

ABC

Duration: 07' 00" Year: 1985
for SATB choir

Anthony Ritchie  

Beginnings

Duration: 09' 00" Year: 1987
for orchestra

  • Instrumentation
    2(1pc)222; 2200; timp (4),2perc(bs-dr,s-dr, tamtam, xylo, glock, sus cym); strs
  • Programme Note

    ‘Beginnings’ was commissioned by Auckland Philharmonia. It was inspired by the birth of Ritchie’s son Tristan. It depicts the slowly mounting tension of the labour, through to the birth itself. There is a gradual growth in the music from small, delicate gestures into wild and pulsating ones towards the end. The child is represented by a ‘little Tristan waltz’ which eventually gets caught up in the musical frenzy. The waltz sequence imposes order on the music, which tends to be fragmentary and changeable. There are some echoes of Bartok and Debussy in this early work, and it presents a good challenge for a professional orchestra.

  • Availability

David Hamilton  

Canticle 4

Duration: 08' 00" Year: 1983
for mezzo-soprano, cor anglais and piano

Gary Daverne  

Caprice

Duration: 08' 00" Year: 1989
for six accordions

Felicity Williams  

Carol of the New Zealand Bush

Duration: 05' 00" Year: 1988
for SATB choir

John Rimmer  

Clouds over Pirongia

Duration: 06' 00" Year: 1984
for percussion quartet

Leonie Holmes  

Colloquium

Duration: 06' 00" Year: 1986
for two flutes and guitar

Neville Hall  

Composition for Solo Viola

Duration: 05' 00" Year: 1989

  • Programme Note

    “Composition for Solo Viola” explores the gradual growth of material from a single note to long chains of gestures. The soft opening sound, which returns throughout the piece, delineates each of the sections, allowing for clear perception of the process of expansion. Each new section of the piece is generated by overlaying the previous two sections, in such a way so as to expand the material both in time and spatially. “Composition for Solo Viola” was written for and is dedicated to Justine Goode.

  • Availability