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Originally called A Song of Tamatea, this work was revised in 2000 to become An Offering for Parihaka.

• Hamilton: A Song of Tamatea; facsimile 

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• Hamilton: An Offering for Parihaka; computer set 

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• Hamilton: An Offering for Parihaka; computer set 

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• David Hamilton: A Song of Tamatea 

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• Parihaka 

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2222; 42211; 3 perc.; 4 cymbals; cl; strings

It is impossible to live in Wellington without paying attention to its environment, or the environment paying attention to you. Equally, it is impossible to leave without carrying an interior imprint of its sharp green hills, scudding clouds, dragon sea, and particularly for me, those days when it suddenly all stops leaving the city suspended between a hush of blue sky and a seemingly frozen harbour. Blue Kisses Green is somehow ‘about’ this elemental ferociousness, delicacy, and beauty.

• Dugal McKinnon: Blue Kisses Green (Mono) 

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• McKinnon: Blue Kisses Green (Stereo) 

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• McKinnon: Blue Kisses Green 

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• McKinnon: Blue Kisses Green; computer-set 

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• McKinnon: Blue Kisses Green; computer-set 

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• McKinnon: Blue Kisses Green; computer-set 

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3333; 4331; timpani, harp, 3 perc., strings

The state of humankind and the ecology of our planet are inseparably mirrored by each other. Paradoxically, we destroy natural homes to construct our own. What else are we to do? Time and the eco-cycle continue their relentless advance.

Daniel Stabler – 29 July 2002

• Stabler: eccco fantasy for orchestra; computer-set 

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• Stabler: eccco fantasy for orchestra; computer set 

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• NZ Works for Orchestra 

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• Daniel Stabler: eccco fantasy for orchestra 

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piccolo, flute, oboe, cor anglais, clarinet, bass clarinet, bassoon 1 and 2, 3 horns, 3 trumpets, 2 trombones, bass trombone, tuba, timpani, 2 percussionists (crash cymbals, suspended cymbals, roto-toms, claves, rain stick, vibraphone), harp, strings and narrator

“I enjoyed performing and recording Eulogy very much. Such a warmth of texture and harmonies which created a sympathetic palette for Olivia Macassey’s word painting” – Kenneth Young

My decision to set this text for orchestra initially arose, not only from reading the poem and appreciating it for what it is, but also from the recent passing of a dear musician colleague with whom I had collaborated on many early jazz projects.

However, at time of writing, I have become most un-nerved by the senseless loss of young life that has been occurring with alarming regularity at a couple of schools I have recently taught at. It was with these tremendously sad, sudden passings in mind that I completed my work on the piano short score of Eulogy, before commencing work on its orchestration.

Yvette Audain

• Audain: Eulogy; computer-set 

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• Audain: Eulogy; computer-set 

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• Two works by Yvette Audain 

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• The APO Composers' Workshop 2010 

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3*(alto)3*33; 4431; timp., perc. (3), hp; strings Percussion: mba, sus. cym., tri., wdblck, b.d., tam-tam, tub. bells, xyl., glock.

The mamaku is the black tree ferns and is the tallest tree fern of New Zealand. Like other ferns, its fronds open out, forming the koru. Off one shape, more of the same shapes unravel, and then off these in turn, tiny parts of the frond unravel, and so on. From the moment of ‘birth’, the gradual cycle continues until the magnificent tree fern is towers, quite different from its original form and the koru is still present. In this piece I’ve explored slow metamorphosis, with the aim to grow sounds out of each other with contrasting results. Diatonic chords out of chromatic clusters, beauty out of chaos. All of this begins from a single note, f, at the start which is born out of string harmonics and imperceptible pitches, and concludes with hint that the cycle an ongoing one.

• Young, A.: Mamaku; computer-set 

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• Young, A.: Mamaku; computer-set 

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(1)22(1)2(1)2; 4331; 3 perc. ;strs

This orchestral work is based on the novel The Scarecrow by the great New Zealand comic novelist Ronald Hugh Morrieson. The world of small town New Zealand and its black and dangerous undercurrents are depicted in atmospheric and unpredictable music.

• Blake: Night Walking with the Great Salter; facsimile 

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• Blake: Night Walking with the Great Salter 

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• Music by Christopher Blake 

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(1)2122; 4331; timp., 3 perc (timp, sd-dr, cym, tri, xylo, tram bell, bus horn), hp; strs (10,10,8,6,4)

A concert overture for full symphony orchestra – this work captures “the bustle, the vitality and the peace” of one of Christchurch’s busiest arteries.

The composer’s son, Anthony Ritchie wrote:
“Dad composed this when I was at Varsity in Christchurch. Some years earlier we had moved to a new house next to Papanui Road – he still lives there – so I remember Dad wanting to write a piece that summed up experiences of that street – going back over a long past. There is a motif that represents our old cat, Shosti, sneaking through to the butcher’s on Papanui Road (no longer there, of course!). There is also a sad passage that is a short memorial to Reverend Botting, an old friend of Dad’s, who was killed on his bike, on Papanui Rd – I remember when that happened. The piece is quite personal and yet is likeable just as music.”

• Ritchie, J.: Papanui Road; facsimile 

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• Ritchie J.: Papanui Road; computer-set 

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• Ritchie J.: Papanui Road; facsimile 

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• Ritchie J.: Papanui Road; facsimile 

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• Ritchie J.: Papanui Road; facsimile 

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• Orchestral Music by Norman, Ritchie, Elmsly, Farquhar 

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• Aquarius: Music by John Ritchie  Year: 1998 

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picc222bass cl2; 4331; timp., perc. (2), hp; strings

Sinfonietta depicts the tranquil and turbulent moods of one of the most beautiful and enigmatic places on Earth – Antarctica.

The opening slow movement could easily be the wide-open vistas, the distant white horizon, the isolation sensed in the explorers’ huts or even just the biting cold. Or maybe all of the above rolled into one. The ensuing dance episode is rather lugubrious – without mechanical aid, humans move slowly on ‘The Ice’ and the wildlife, such as it is, suffers similar awkwardness. Never far away is the changeable weather, bringing horrendously strong winds one minute, bright sunshine the next. The finale captures the whirling bluster and activity of an Antarctic storm and the mechanical rhythms from my first chopper ride. One of course takes what one wants from listening to a piece of music and it is not meant to be a programmatic work as such but perhaps I really do mean to depict the clowning of penguins, or at least to capture the humorous element from it amidst such a bleak landscape. Certainly, the landscape and the emotions it opened up helped shape the overall work.

I am indebted to Antarctica New Zealand for the opportunity to travel to Antarctica and gain the inspiration essential for the creation of my work.

• Shepherd: Sinfonietta; computer-set 

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• Shepherd: Sinfonietta 

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2,2,2,2; 4,3,2,(1),1; karanga, soprano, baritone; 6 percussionists, timp., hp; strings

The thing that struck me about Charm when I first read it, was the wonderful concept of the spirit of the land – te wairua o te whenua. The land is our mother, she cares for all of her children. We have all at some point in time been a stranger to this land, and as visitors, we have all been welcomed by her.

Charm is a poem from the mid 19th century, a time when all Europeans were recent visitors to the land. It is likely, however that this poem was a Maori charm originally, translated into English by settlers, suggesting that Maori also felt the same way about Aotearoa.

We now live in a unique multi-cultural society. Our many and varied contemporary art forms reflect this fact, and display something that could only be created here. This piece is a recognition of the similarities and differences of all of the cultures of New Zealand. It is a musical analogy to my idea that cultures can co-exist without overshadowing or changing one other. And finally, it is a musical celebration that we all have ended up here on the same soil.

Gareth Farr

• Farr: Te Papa; computer-set 

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• Gareth Farr: Ruaumoko 

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• Gareth Farr: Te Papa  Year: 1998 

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• Gareth Farr: From the Depths Sound the Great Sea Gongs  Year: 2009 

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3332 1double bassoon; 4331; timp.; perc. (1 player); piano, harp; strings

• Carr: The End of the Golden Weather; facsimile 

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• Carr: The End of the Golden Weather; facsimile 

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• Edwin Carr: Orchestral Works  Year: 1986 

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