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2222; 4230; timp, perc; strs.

This music was originally commissioned by Richard Campion for the New Zealand Players’ production of Ring Round the Moon by Jean Ahhouil, translated by Christopher Fry. In the second act there is a ball taking place offstage and demanding a large number of dances which are specified in the text.

The music was first recorded on acetate discs by a ad hoc orchestra led by Alex Lindsay; these small recordings were then played through speakers for the production, sounding very loud to the cast but filtering out more gently to the audience. At the end of the long national tour, the cast knew the music very well and suggested to me that I should do something with it.

The result, some years later, 1957, was a suite of nine dances first performed by the Alex Lindsay Orchestra. This rapidly became my most performed piece and was commercially recorded by the Alex Lindsay Orchestra in the 1960s, a recording still available today from Kiwi Pacific Reords.

Ashley Heenen, through the NZ APRA Committee, commissioned an arrangement for full orchestra for the NZ Youth Orchestra to take on a tour of Europe and China in 1975. This version was shortened to six dances by leaving out the first three numbers. The music has also been used for a ballet, The Wintergarden, choreographed by Arthur Turnbull for the Royal New Zealand Ballet Company – this version included a tenth dance not in the 1957 Suite. Since 1975 two further version have been commissioned: Waltz Suite (1989), for string orchestra (five dances) for the Nova Strings, and an arrangement of the original Dance Suite (1992) for violin and piano (nine dances) for Isador Saslav.

• Farquhar: Short Suite from Ring Round the Moon; computer-set 

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• Farquhar: A Short Suite from Ring Round the Moon; computer-set 

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• Farquhar: Short Suite from Ring Round the Moon; computer set 

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• SOUNZ Orchestral 1993 

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• New Zealand Composers  Year: 1995 

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2222; 4330; timp; strings

• Lilburn: A Song of Islands; facsimile  Year: 1996 

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• SOUNZfine Volume 2 

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• Lilburn: A Song of Islands and other works  Year: 1986 

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• Lilburn: A Song of Islands  Year: 1986 

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• Douglas Lilburn: A Song of Islands  Year: 1987 

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• Douglas Lilburn: Orchestral Music  Year: 1995 

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• Douglas Lilburn: Orchestral Works   Year: 2004 

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• Wild Music   Year: 2004 

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2222; 2200; timp, perc, hp, (pf); strings

• Farquhar: Anniversary Suite No 1; facsimile 

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• Farquhar: Anniversary Suite No.1; facsimile 

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• Farquhar: Anniversary Suite No 1; facsimile 

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2222; 2200; timp, perc, hp(pf); strs.

These pieces were originally piano duets, written with one easy part for my wife to play, and presented to her on various anniversary occasions in the 1960s. This orchestral suite was arranged for the 1965 Cambridge Summer Music School, and first performed there by the school’s orchestra. The translation from piano to orchestral sounds makes many opportunities for variety of colours and for real sostenuto. But while orchestral sound is bound to be very different, I have attempted in the Trio of the Mexicana to capture something of the effect of the piano’s harmonic resonance to provide sustaining echoes of the oboe’s tune.

• Farquhar: Anniversary Suite No. 2; facsimile 

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• Farquhar: Anniversary Suite No. 2; facsimile 

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• Farquhar: Anniversary Suite No. 2; facsimile 

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• Farquhar: Anniversary Suite No. 2; facsimile 

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• David Farquhar: Auras  Year: 1997 

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2(1)222; 4231, timp., 3 perc., strings

“He Hides himself so wondrously, As though there were no God” Scottish Psalter 1615

• Harris: As though there were no God; computer-set 

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• Harris: As though there were no God; computer-set 

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• Ross Harris: As though there were no God; audio 

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• Premieres 2004, Volume 3 

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3333; 4331; timp.; 3 perc.; harp; springs.

This piece has essentially become a journey – a journey to nowhere in particular, but one that is filled with a lot of variation along the way. The title for the piece is a sentence composed by Noam Chomsky to be grammatically correct but semantically nonsensical. This sentence seemed interesting as a title because the more one ponders its meaning, the more your own sense and context for it begins to develop.

The inspiration for this piece came from a number of different places: Taking both Toru Takemitsu and John Adams as musical precedents, this piece draws from their compositional aesthetics (with particular focus on repetition of rhythm and gesture); and tries to synthesize that with further influence from jazz music, electronic dance music and film scoring techniques to create a new hybrid form. The structure of the piece is very strongly influenced by the techniques of film editing, rather than more traditional orchestral forms. So instead of a measured progressive development of ideas, the goal was to create something that is very sectional and ‘choppy’.

In composing this piece the aim was to take both the role of the ‘traditional composer’ and the modern pop ‘producer/composer’ and combine these compositional approaches – Developing musical fragments by approximating digital studio effects and editing techniques on acoustic instruments through traditional notation.

This piece was written as part of the composers PhD composition portfolio that is exploring the possibilities of cross-genre hybridity in musical composition.

• Jeremy Mayall: colorless green ideas sleep furiously - hardcopy score 

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2(piccolo)22(B flat bass clarinet)2; 2200; timpani; 2 percussion players( snare drum, hi-hat, suspended cymbal,tam tam, bass drum, 2 bongo drums (can be substituted by snare), 2 conga drums (drum with snares off), glockenspiel; strings

• Crossman: Colour Resonances and Dance; computer-set 

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• Bruce Crossman: Intercultural Sounds 

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• 2002 Asian Contemporary Music Festival 

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• Bruce Crossman: Selected Works (1996-2001) 

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• Bruce Crossman: Selected Works (1996-2001) Vol. 2 

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33*3*3*, 4331, timp, 2-3 perc, piano, harp, strings

A meditation on the brevity of life and the nature of loss, Concerto for Orchestra is one of very few of Samuel Gray’s works not to feature overtly political content. The unconventional, prominent use of the musicians’ voices in addition to their instrumental performances nevertheless marks the Concerto as characteristically Gray.

• Gray: Concerto for Orchestra; computer set 

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• Gray: Concerto for Orchestra; computer set 

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2212; 4330; timp, perc. (tri.,glock.,xyl.,cym.,side drum.,b.drum); strings

• Speirs: Divertimento for Orchestra; facsimile 

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2222; 4331; 3perc; pf; strings

Composed in 1996 to mark the 75th anniversary of the founding of the Eastman School of Music, Rochester, New York and incorporating melodies of significance to the school and to the Rochester community. Melodious, sentimental, good humoured music.

• Marshall: Eastman Overture; computer-set 

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• Marshall: Eastman Overture; computer-set 

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• Marshall: Eastman Overture 

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• Lodge: Hinterland; Marshall: Eastman Overture 

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• New Zealand Music: Marshall and Keay 

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