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Anxiety is a common psychological disorder in modern society. It is a state of uneasiness or tension caused by over-worrying about a possible future problem or danger. Ecstasy here implies a state of exalted delight, joy, and then, gradually moves to a more extreme emotion.

A person experiences various feelings every day. However, some people have to overcome certain psychological difficulties, such as phobia or anxiety. This piece reflects two aspects of feelings, anxiety and ecstasy, which are unique in humans. One maybe we are trying to avoid, while another one, we are trying to pursue. Some people may have already experienced both of these two states in real life. Others may have just suffered anxiety but never have made the journey into the euphoria of ecstasy. It is interesting to notice that if these two feelings are persistent or triggered by certain events, they both can lead to intense emotions, such as Anxiety Attack and an ecstasy of rage.

• Lin: Anxiety... Tumbling into Ecstasy; computer-set 

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• Lin: Anxiety... Tumbling into Ecstasy; computer-set 

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• Jeff Lin: Anxiety... Tumbling into Ecstasy; audio 

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Lyell Cresswell describes his work Ara Kopikopiko, which takes its title from the Maori word for Labyrinth, as a concerto for orchestra in which the instruments and ideas are treated as tesserae in a mosaic, assembled to catch the light at different angles. At its premiere the work was introduced by the composer and broadcast on BBC Radio 3.

• Cresswell: Ara Kopikopiko; computer set 

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• Lyell Cresswell: Ara Kopikopiko 

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• Farquhar: Beyond...; computer set 

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• Farquhar: Beyond...; computer-set 

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• Farquhar: Beyond; computer set 

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• Cree Brown: Celestial Bodies; computer-set 

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• Cree Brown: Celestial Bodies 

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The title Cirrus is taken from the first stanza of James K. Baxter’s poem, High Country Weather (1948).

Alone we are born

And die alone

Yet see the red-gold cirrus

Over snow mountain shine

Upon the upland road

Ride easy stranger

Surrender to the sky

Your heart of anger

What appealed was the depiction of individual endeavour, the expansive backdrop of New Zealand rural imagery and the poem’s final plea. Despite the foreboding beginning, metaphorically the ‘red-gold cirrus’ foretell of a change for the better. Cirrus are beautiful high transparent clouds typically streaming in the direction of the wind, usually signalling the arrival of fair weather. As a child growing up in rural New Zealand I used to often lie on the ground and gaze skyward, observing these clouds.

The opening of the piece employs high-pitched bell-like chords. While the upper and lower strings hold a sustained note, a bass clarinet introduces the first significant melodic theme. After the first full-orchestral climax the texture of the climax quickly dissipates to reveal a high-pitched modal melody. The brass abruptly interrupts this moment of quiet with an augmentation of the previous theme. After this interruption subsides the character of the music gradually becomes more uplifting and confident. Then solo instruments perform themes over a lively syncopated chromatic pizzicato bass line and variations of the original theme repeat, driving the music forward to reach the final climax. The piece ends with a final recapitulation of the high modal melody and arpeggiated echoes of the opening bell-like chords in the tuned percussion.

• Matthews: Cirrus; computer-set 

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• Matthews: Cirrus; computer-set 

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• Stephen Ralph Matthews: Cirrus 

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• Perkins: Concertino for Flute and Strings; computer set 

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• Perkins: Concertino for Flute and Strings; computer set 

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• Perkins: Concertino for Flute and String Orchestra 

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• Young, K.: Concerto for Euphonium and Orchestra; computer set 

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• Young, K.: Concerto for Euphonium and Orchestra; computer set 

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Fault had its genesis in the line ‘phrases shifting tectonically’ from an electro-acoustic work by John Cousins, and suggestions of subterranean tension and earthquake are perhaps audible.
Fault was written in 2004 and was workshopped by the Auckland Philharmonia Orchestra and the New Zealand Symphony Orchestra. It was premiered by the NZSO at the 2007 Asia Pacific Festival.

• Holloway: Fault; computer set 

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• Holloway: Fault; computer set 

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• Holloway: Fault; computer set 

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• Holloway: Fault; computer set 

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• Works by New Zealand Composers 

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• Samuel Holloway: Fault 

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• Passing - Asia Pacific Festival 2007  Year: 2009 

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Perhaps a little like objects in cyberspace, memories are simultaneously real while in another sense, imagined fabrications. Each of us has stored an incalculable number of memories that become distorted, fade over time, or are forgotten. The questions of how real are memories and when do they exist or cease to exist has fascinated me for several years. This work is intended to speak about forgotten memories, not only personal ones, but also the countless memories that have been lost or misplaced over the millennia of human existence. There is a melody on the solo Viola that first appears two minutes into the work; it is reiterated twice, but is coloured by other sounds on each successive rendition, perhaps like the colouring of our memories.

• Cree Brown: Forgotten Memories; computer-set 

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• Cree Brown: Forgotten Memories; computer set 

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• Chris Cree Brown: Forgotten Memories; audio 

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• New Zealand Selection 2 

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• Forgotten Memories  Year: 2005 

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A scene from childhood, remembered as a half peaceful, half eerie dream sequence. Deep in the bush where there were no cicadas singing, the moist smell of soil, a small stream, dark ferns. Occasional streaks of sunlight struck the water. The middle of the ponga fern looked as if it would be a perfect bed to curl up in. I half believed that there were bush-dwelling creatures that did live and sleep there, watching me from the shadows.

• Holmes: Frond; computer-set 

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• Holmes: Frond; computer-set 

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• Premieres 2004, Volume 3 

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• Passing - Asia Pacific Festival 2007  Year: 2009 

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