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Robin Toan  

Barcelona Postcards

Duration: 14' 00" Year: 2005, r. 2008
for flute, oboe, clarinet, violin, cello and piano

Score Sample
  • Programme Note

    1. The first movement illustrates the plethora of fish to be seen at the Aquarium at feeding time. There are small fish, big fish, colourful fish and plain fish. I have tried to mimic the darting movements of the small fish with quick high grace notes and tremolos. In contrast, the darker notes of the oboe and the piano represent the bigger, slower and brooding fish.

    2. Watching the harbour in the morning is one of the most serene and beautiful experiences one can have in Barcelona. One morning I visited the harbour when the skies were clear and the sun was sparking on the ocean, which was a most brilliant blue. The area was almost deserted; it was early. I have captured the tranquillity of the moment with an intimate trio of cello, violin and clarinet.

    3. Finding large as life puppets in the square outside the Cathedral was a delight. I imagined them to be alive, moving jerkily, interacting and dancing a little in an empty space.

    4. Stepping out of the Metro and being confronted by La Sagrada Familia was a momentous experience. I have chosen two aspects of what I felt for this movement. Firstly, there is the foreboding nature of the building; the way it looks as though it were melting, twisting and almost lurching as it towers over you. Secondly, there is the light and peace that radiates from it through the optimistic spires and delicate bird decorations.

    5. The fun side of Gaudi can be seen in the fairytale-like Park Gell, which is full of excitement, laughter and maybe (if you’re lucky) at bit of dancing.

    Barcelona Postcards received a Honorific Mention Award in the 2005 Frederic Mompou International Award for the Young Composer Competition of the Joventuts Musicals de Barcelona.

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John Psathas  

Kartsigar

Duration: 17' 00" Year: 2005
for string quartet

  • Programme Note

    Both movements of this work began as transcriptions of recorded performances by two of Greece’s living master-musicians, clarino player Manos Achalinotopoulos and percussionist Vagelis Karypis. The Transcriptions are based on two separate recordings of a traditional taximi entitled Kartsigar. Taximia form part of an oral tradition in which improvisation played an important role. Songs would begin with an instrumental prelude, the taximi, where a musican showed off his prowess. This set the mood for the song to follow, and could last for as long as twenty minutes.

    The taximi Kartsigar comprises two elements, an ostinato and the improvised melody. The melody forms the basis of the first movement of the quartet, and the ostinato forms the basis of the second.

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Gillian Whitehead  

Piano Trio

Duration: 20' 00" Year: 2005

Score Sample
  • Programme Note

    One winter morning, a short walk from the marae at Waihi, on the southern shore of Lake Taupo, I stood on the shore to watch the sun rise. Behind me, a waterfall lead to a small stream that flowed into the lake, imposing its own patterns on those of the lake. The water was uniformly grey, but as the sun rose, for a moment the tops of the ripples were golden, with darker valleys between, before the whole area was flooded with light. So the ideas behind this trio have to do with the changing perspectives of patterns in water – in the bubbling of streams, the tumble of a waterfall, in the spiralling eddies where stream meets lake at sunrise.

    In the opening movement, a group of short themes and ideas initially form a mosaic-like section, which recurs in developed and varied forms around more reflective passages. The second movement reverses the first, in that slow, sustained sections are interrupted by more energetic material, and the final movement draws all the previous ideas together.

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Samuel Holloway  

Stapes

Duration: 08' 00" Year: 2005
for piano trio

Score Sample
  • Programme Note

    Stapes is the first piece in a series of three trios collectively entitled Middle Ear. The stapes (or stirrup) is the smallest in the chain of three bones that transmit vibrations from the eardrum to the internal ear in the process of transformation of external soundwaves to an emotional or cognitive response within the listener. The composition of Stapes was largely dictated by the idiosyncrasies of the ensemble: the piano, suffering under equal temperament and timbral limitation, and the strings, free in pitch and hosting a wide timbral palette. The juxtaposition of these disparate musical entities, with the instruments working together and against each other, forms the basis of this work. The piece is physically and mentally demanding, pushing the players in individual and collective struggles for articulacy.

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Peter Willis  

Woodwinds and Vibes

Duration: 05' 45" Year: 2005
for flute, oboe, clarinet in b flat and vibraphone

Score Sample
  • Programme Note

    My aim with Woodwinds and Vibes was to create an atmospheric piece, with rich harmonies and an equality of instrumental interaction, but where individual timbres shine through. I chose this combination of instruments because I have a particular fondness for the sound of woodwinds, and for the pure metallic sound of the vibraphone. In visual terms, this piece could be seen as a series of floating images, which emerge into view then disappear. I was influenced especially by the music of Morton Feldman, with its hushed, rarefied sound world, and the simple beauty of single notes.

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