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Larry Pruden  

1218

Duration: 11' 00" Year: 1977
an unsolemn overture for orchestra after Tchaikovsky - a tapestry of English tunes

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Douglas Lilburn  

A Birthday Offering

Duration: 11' 00" Year: 1956
for orchestra

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Bryony Jagger  

A New Day Dawns

Duration: 10' 00" Year: 1999
for orchestra

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Lissa Meridan  

a quiet fury

Duration: 10' 00" Year: 2008
for symphony orchestra and live electronics

  • Programme Note

    During 2007 I spent a lot of time making field recordings of background noise in Paris, and analysing the spectral and rhythmic content of those recordings. I found the more I listened to my recordings, the more musical material I found hidden in these background hisses and hums, chatterings and otherwise banal noises: rhythms, mysterious melodies, energies and harmonic tensions. While working on this commission for the NZSO, I decided to try to capture the intrinsic musical essences I could hear in my field recordings, and interpret those sounds in an orchestral context, with the juxtaposition of the original noise recordings finding musical relationships in the orchestral counterpart. The resulting piece is a conjuring of various energies, or furies, caught in the background noise of Paris, and finding their way into the back of my throat to be sung into a quiet fury.

    Lissa Meridan

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Helen Caskie  

A Song of Aotearoa

Duration: 13' 00" Year: 1994
for chamber orchestra

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  • Instrumentation
    2 Fl, Picc, Ob, 2 Cl, Bsn, 2 Fr Hn, Timp, Harp, Strings
  • Programme Note

    For chamber orchestra consisting of 2 flutes and piccolo, oboe, 2 clarinets, bassoon, 2 horns; timpani, harp or piano; and strings. Commissioned by the Manawatu Sinfonia with funding from The Arts Council of New Zealand/Toi Aotearoa. Duration approximately 14 minutes.

    New Zealanders lives are very much influenced by the moods of nature, Maori mythology and European settlement. So this piece may evoke in the listeners imaginations, seascapes, bush scenes, majestic mountains, and in the middle section, the disruptive influence of civilization.

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Thomas Goss  

A Village Wedding

Duration: 14' 05" Year: 2003
a suite for string orchestra with continuo and solo obbligato in the second movement

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  • Programme Note

    A Village Wedding combines two different conceptual approaches; that of the program piece wherein images or activity is described by music; and that of the concerto grosso, a Baroque form which both collectively and individually showcases the players of an ensemble. In the latter case, the piece would seem to fulfill many if not all of the 18th-century requirements. After an overture, movements based on dance rhythms ensue, including the Pavane, March, Gigue, and Rigadoon. Yet the material is cast in a mold that is necessarily programmatic. The Overture, with its opening solemnity, birdsong trills, and developing energy, is intended to describe the bright Sunday morning of a country village, along with the excitement and bustle of wedding preparations. The _Meditation_’s searching cadenza and pensive sweetness exhorts the attendants to send out their blessings to the bride and groom, while the Processional calls the wedding party to the altar. The Dance at the end paints a fiddler’s paradise of flying knees and elbows to jigs and reels as the whole village joins in the revelry.

    The piece is dedicated to the composer’s fiancée Erica, and acknowledges with gratitude and appreciation the dedication and excellence of the members of the YPCO.

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Anthony Ritchie  

Albatross in Flight

Duration: 10' 00" Year: 1996
a short piece for orchestra

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Douglas Lilburn  

Allegro for Strings

Duration: 10' 00" Year: 1942

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David Hamilton  

An Offering for Parihaka

Duration: 14' 00" Year: 1988
for traditional Maori instruments (taonga puoru) and string orchestra

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Christopher Blake  

Angel at Ahipara

Duration: 11' 00" Year: 1999
for string orchestra

  • Programme Note

    In the isolated settlement of Ahipara in the far north of the North Island of New Zealand a tiny white church sits on a hillock looking out to a range of low brooding hills. In the cemetery below, an angel stands on a pedestal at the head of a grave. One day in 1992 renowned New Zealand photographer Robin Morrison came to the church and captured the essence of the angel’s vigil in a memorable and famous image.

    In late 1997 the composer Chris Blake travelled to Ahipara and stook in the same place and experiences the same image. The outcome was a short work for string orchestra which captures the hope and desolation of the angel and the memory of the soul over which she stands guard. The work was created for conductor Andrew Sewell and is based, at his suggestion, on a passage from an earlier work We All Fall Down for obliggato cello and orchestra.

    This work is one of a series of four, making up The Northland Panels. They were written and premiered as separate works.

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