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Helen Caskie  

A Cycle of Recollections

Duration: 13' 00" Year: 1997
for soprano, clarinet and piano

John Rimmer  

A dialogue of opposites

Duration: 13' 00" Year: 1997
for cello solo

Bryony Jagger  

A New Day Dawns

Duration: 10' 00" Year: 1999
for orchestra

Eve de Castro-Robinson  

a pink-lit phase

Duration: 10' 00" Year: 1997
for flute, viola and harp

Philip Norman  

A Short Suite

Duration: 10' 00" Year: 1994
for saxophone quartet

Helen Caskie  

A Song of Aotearoa

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

  • 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.

  • Availability

Ross Carey  

A wish

Duration: 10' 00" Year: 1995
for guitar

  • Programme Note

    I. Preludio is based on the phrase heard at the start of the piece; elaborated with triadic harmonies. II. Variazioni is a simple intervallic theme with variations. Composed for guitarist Kazuhito Yamashita, who requested a piece for solo guitar. He first performed the work at Kirishima, Kyushu in February, 1996.

  • Availability

Jack Body  

African Strings

Duration: 13' 00" Year: 1990
for two guitars

Anthony Ritchie  

Albatross in Flight

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

Lyell Cresswell  

Anake

Duration: 13' 00" Year: 1998
for solo flute

  • Programme Note

    ‘Anake’ – Maori for alone – is a set of three pieces. The first contrasts fragmentary ideas with slower wide-ranging melodic lines. These ideas are extended into a shimmering virtuosic diversion in the second piece, and the third turns the slower music into a desolate lament. This third piece was written with a line from Federico Garcia Lorca’s lament for the bullfighter Ignacio Sanchez Mejias in mind: ‘Bones and flutes sound in his ears’.

  • Availability