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Robbie Ellis  

Alla Marcia Brady

Duration: 05' 00" (can vary) Year: 2012
for a whole bunch of wind & brass

  • Programme Note

    alla marcia – adv. As a musical direction: in the style of a march. Also as adj., n. (Source: Oxford English Dictionary.)
    Marcia Brady – A character from the 1969-1974 American television series The Brady Bunch. (Source: Wikipedia.)

    General instructions/suggestions include:
    - Gather a dozen or so wind and brass players. Have them memorise this music.
    - The players should walk one by one from off-stage to on-stage.
    - If possible, have them do a complete circuit across the stage, off the other side, through the backstage area, then back onto the stage through the original entry point.
    - I encourage the use of surprising points of entry, e.g. balconies, strange doors, trapdoors, zip lines, time machines.
    - Optional: incorporate the theme tune to The Brady Bunch in Bb major.

  • Availability

John Key  

Barristers of the Blues

Duration: 06' 00" Year: 2004
for jazz band

Philip Brownlee  

He rimu pae noa

Duration: 09' 00" Year: 2009
for taonga pūoro (1 or 2 players), flute, clarinet, violin, cello, piano

  • Programme Note

    Like many whakataukī, or traditional sayings, he rimu pae noa conveys a rich range of meanings. Literally, it describes seaweed set in motion by the tide. Metaphorically, it also refers the restlessness of a traveller, and the movement of a whole bed of seaweed in the same current alludes to a group of people working in harmony. This in particular has a strong resonance with the collaborative process from which the piece arose. The instrumental ensemble provides a framework, and a backdrop, for the improvisation of the taonga pūoro. At the same time it attempts to maintain its own identity, in conversation with the solo lines. Precisely specified gestural events are distributed in a flexible rhythmic framework,
    which aims at a balance between control and spontaneity. I am deeply grateful to Horomona Horo, for a richly rewarding collaboration, and to Richard Nunns, whose work over many years is a deep source of inspiration.

    Philip Brownlee

  • Availability

Kathryn Lauder  

Noisy types

Duration: 05' 00" Year: 2002
a short set of three fun pieces suitable for students

  • Instrumentation
    oboe/ violin duet (or other instruments with the same range), clarinet in B flat, violin section (at least 2 players), cello or cello section; Perc 1: glockenspiel. triangle, slide-whistle, whistle, egg-shakers, cap-gun or 2x 'party poppers'; Perc 2: typewriter, woodblock, bicycle horn, aluminium frying pan, vibra-slap, piano; everybody in the group also needs to have a 'kazoo'
  • Availability

Jack Body  

Polish Folk Dances

Duration: 06' 00" Year: 2007
for two clarinets in B flat, baritone saxophone, timpani and Javanese Gamelan

  • Programme Note

    The piece was written in collaboration with Andrzej Nowicki, a NZSM student who dances with a Polish folk group in Wellington. The clarinet carries the dance tunes in both movements, with a second clarinet and a baritone saxophone joining in the second. The gamelan accompaniment moves between “slendro” and “pelog”, suggesting a ‘bent’ version of western harmony.

    Jack Body

  • Availability

Samuel Gray  

Roma

Duration: 07' 00" Year: 2011
for 2 performers

  • Instrumentation

    Musician 1: Piano, melodica and voice
    Musician 2: chromatic button harmonica and voice
  • Programme Note

    The fate of the Roma and Sinti (Gypsy) people continues to be a hugely divisive topic across Europe. Substandard housing, special schools, huge unemployment, massive discrimination, hate crimes and murders of Roma and Sinti because of their ethnicity contrast with the widespread conviction that Roma and Sinti are lazy thieves refusing to work, and that their squalid housing and enormous poverty is solely their own fault.

    As a foreigner in Europe Samuel Gray sees massive discrimination and hate crime that is absolutely shocking in a so-called enlightened continent, and for him the level of intolerance towards Roma – in countries that should have learnt enough lessons from history – is terrifying.

    The accordion is heavily used in ‘Gypsy’ music, and Austria – where Samuel lives – is full of talented travelling Gypsy musicians. Roma is Samuel’s expression of solidarity both with those – largely ignored – musicians and with an ethnic group that, in his opinion, is still treated as sub-human.

  • Availability

John Rimmer  

Signals

Duration: 05' 00" Year: 1985
for brass quintet and renaissance instruments

Lissa Meridan  

where wind walks

Duration: 08' 00" Year: 1999
for flute orchestra and percussion

Anton Killin  

Wigena

Duration: 06' 00" Year: 2009
for string quartet, Javanese instruments, and Javanese rebab solo