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• Watson: _duomusiq+; computer-set 

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• Watson: _duomusiq+; computer-set 

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• Chris Watson: _duomusiq+ 

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“I enjoyed playing the first performance of ‘An Irksome Vengeance’ with Yvette. The piece explores quite complex rhythmic patterns at a high level of expertise, calling to mind jazzy and folk-type drive with well-executed lyrical connections. The audience seemed to relate warmly to the work, so I think it is well deserving of future airings." – Katherine Hebley, cellist, Auckland Philharmonia Orchestra and 175 East

This piece was largely informed by my involvement in the Auckland Philharmonia Orchestra’s Remix the Orchestra courses, during which fascinating syntheses of classical and hip-hop musics are created.

I have an all-encompassing view of music and have never shied away from influences outside the ‘classical’ genre: in this short work can also be heard a fleeting post-grunge-informed bassline and maybe, even, a slight tinge of progressive rock.

It recently occurred to me that many of us have a rap song from our formative years to which we know, if not ALL the words, at least most (often entirely despite ourselves!). Upon rediscovering Monie Love’s It’s a Shame (chorus originally recorded by the Spinners and written by Stevie Wonder), the phrase ‘an irksome vengeance’ jumped out at me from the lyrics.

Upon catching up with a former mentor prior to the composition of this work, I was reminded of the concept of a ‘groove-based’ piece, and to this end I have tried not to let the basic pulse abate for too long at a time, so as to create as much continuity as possible.

Yvette Audain

• Audain: An Irksome Vengeance; computer-set 

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• Audain: An Irksome Vengeance; computer-set 

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• Yvette Audain: An Irksome Vengeance 

  CD
  

Angst: an acute but non-specific sense of anxiety or remorse (Collins Concise Dictionary). This is not intended to be an easy-listening, carefree piece. I wanted to portray a deep-seated sense of angst, creating a feeling of uneasiness in the listener. The flute and cello bear a similar angst, at times dealing with this independently, yet always returning to share in their anxiety. Quarter-tone inflections disconcert the harmonies, with tremolo, flutter-tongue and a recurring minor ninth adding to the tension. The material gradually unravels, only to fold in on itself again, remaining unresolved.

• Morgan: ...and yet, not; computer set 

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• Morgan: ...and yet, not; computer set 

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• Rachael Morgan: ...and yet, not; audio 

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• Works by Rachael Morgan 

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• Rimmer: At the Base of the Whirlpool; computer set 

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• Rimmer: At the Base of the Whirlpool; computer-set 

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• 175 East vol. 4  Year: 1999 

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This version of Atthis is an adaption by the composer for Viola and Guitar from the original song for Mezzo-Soprano and Guitar. The text of the Mezzo-Soprano and Guitar version was based on the poem To Atthis by Sappho (c.630 BC).

• Adams, C.: Atthis; computer-set 

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• Adams, C.: Atthis; computer-set 

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Before the Stars Begin To Shine is written for solo violoncello and timpani. The work is a comment on the period of time between the often picturesque part of the day when the sun sets and the stars begin to shine. In southern regions of New Zealand this part of the day is called twilight and is defined as the time between sunset and darkness. Twilight can also mean the period of time when life begins to draw to a close. When twilight is referred to in the context of a day it may have a joyous meaning, but when associated with the penultimate stage of a life cycle it can bring sorrow. This work was written in memory of a dear friend who was drowned on January 2nd, 1994.

• Hulford: Before the Stars; computer set 

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• Hulford: Before the stars begin to shine; computer set 

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Broken Glass portrays a dialogue between two opposing natures about the passing of beauty as represented by the two instruments of guitar and violin. It is a meditation on how two people create the ending within themselves for their mutual story, and collaborate through both tension and surrender to bring that ending to life.

• Goss: Broken Glass; computer-set 

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• Goss: Broken Glass; computer-set 

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• Thomas Goss: Broken Glass 

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• Gardner: burr; facsimile 

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• James Gardner: Selected Works 

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’Ceol na Fidhle (pronounced ‘kee-OL na fiddle’), for violin and percussion, is based on Celtic bagpipe and fiddle tunes. The Gaelic title means ‘tunes for highland fiddle.’ Some of the tunes are obvious while others are almost hidden.

Prologue starts with a bang, and is followed by Hornpipe where a familiar tune dances and then scurries away beneath a disguise of accompanying notes and rhythmic displacement. The Boatman slows the pace and melodic decoration suggests the sound of bagpipes playing this rather wistful song. Finally, Reel returns to the highly-charged drive of the Prologue with a frantic and virtuosic ending.

Ceol na Fidhle was written in 1999 for Tasmanian musicians Rachel Bremner and Tom O’Kelly.

• Grenfell: Ceol na Fidhle; computer set 

  Full score | Pdf - computer set
  

• Grenfell: Ceol na Fidhle; computer set 

  Parts - written | Hardcopy - computer set
  

• Grenfell: Ceol na Fidhle; computer set 

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• Maria Grenfell: Selected Works 

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• Maria Grenfell: Ceol na Fidhle and Stealing Tutunui 

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• Music by Maria Grenfell 

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This humorous piece could only have been conceived by a slightly warped mind! The title is a play on the 5/8 time signature and on the syncopation and ‘sinking’ theme evidenced throughout the music. Motivic devices such as inversion and retrograde are used extensively. The original version of the work was composed for mandolin and piano and performed in New Zealand in 1962.

• Twomey: Cinc!; computer-set 

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• Twomey: Cinc!; computer-set 

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• Twomey: Cinc! (Opus 5); computer-set 

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• Twomey: Cinc!; computer-set 

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• Reflections - Music Composed by Ray Twomey 

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• A New Dawning  Year: 1999 

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