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A Wild Sea for the Crossing is a set of 3 poems by Greg O’Brien – 1. Winter I was (from Winter I Was, published in 1999 by Victoria University Press – a traditional song), 2. The cage is a song in which the bird is sung (from afternoon of an evening train, published in 2005 by Victoria University Press) and 3. Russian Grave Menton (from afternoon of an evening train).

• Helen Bowater: A Wild Sea for the Crossing - hardcopy score 

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• Helen Bowater: A Wild Sea for the Crossing - downloadable PDF 

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• Brownlee: As if to catch the fleeting tail of time; computer-set 

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• Brownlee: As if to catch the fleeting tail of time; computer-set 

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Bliss Mechanism is a play with the concept of false/true emotional states. The goal is to express a sense of irony contrasted with glimpses of deeper, more spacious, spontaneous/authentic emotion. Irony and pathos are the two principle ideas at play. The emergence of one conquering the other is an import aspect of the piece. The fast rhythmic sections should be played with a relentless, almost desperately positive, energy.

• Downes: Bliss Mechanism; computer-set 

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• Downes: Bliss Mechanism; computer-set 

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• Downes: Bliss Mechanism; computer-set 

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• Downes: Bliss Mechanism; computer-set 

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The composer writes:

Entering the stream
as if a point of no return has been reached
as light illuminating a moment of darkness
or sound log passed into silence
no trace remains, no desire or need
the stream holds life in its sway
constant flow, forever in a state of
flux, of uncertainty, our thoughts
and senses grasp the music
our craving devours beauty
yet the moment of realisation
is when time receds
as fast as we think
we have possessed it.
So, enter the stream
for you will never
be the same again
you were never
the same
ever.

Grateful thanks to NZTrio for commissioning this work, to Creative NZ for the funding to make that possible, and to Jack Body for being part of the process.

• Yudane: Entering the Stream; computer-set 

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• Yudane: Entering the Stream; computer-set 

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evening rode tenderly combines and reconfigures the melodies of eight folk songs from New Brunswick. I love to sing these songs, seduced by their intricate ornamentation, tendrils of melody unfurling and doubling back on themselves. The singer is leaving home, heading off on a journey — roving, walking or maybe riding. It’s early summer, fair and pleasant. The journey begins at the time between dark and light. In composing the piece I included a stripped down choreography — fragments of a folk dance which subtly shifts the relationship between the two performers.

• Palmer: evening rode tenderly; computer set 

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• Palmer: evening rode tenderly; computer set 

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The four abstracts of the title represent a kind of conceptual continuum between emotional states – Solitude, Intimacy, Distrust and Panic. Gradually developing in momentum and intensity, the movements flick between different angles and stages of human relationships, subverting expectations in building a fragile structure of unease and compulsion.

• Taylor: four abstracts; computer-set 

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• Taylor: four abstracts; computer-set 

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• Taylor: four abstracts; computer-set 

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• Taylor: four abstracts; computer-set 

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For a while now, I have had an interest in the nature of sound and timbral nuances. In this piece I also explored the concept of vibration and movement around a fixed point.

Fixed points appear in many guises through-out the work, at times they are explicit, other times more implicitly implied, particularly later in the piece. In all cases the focus is on timbre and movement within a sound.

The piece begins in a strong and solid soundworld. Here, pitch is a clear fixed point with the intention of drawing the listener’s attention to subtle timbral variations.

Pitch is certainly not the only reference point. Distortion and interference of both soundwaves and textures are also important elements of the work. These become stronger features as the material begins to destruct in a gradual shift towards instability. This move from stasis and stability, to instability and fragility is also highlighted by an evolution of instrumental techniques.

from a fixed point was commissioned by 175 East with funding from Creative New Zealand.

• Morgan: from a fixed point; computer-set 

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• Morgan: from a fixed point; computer-set 

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• Rachael Morgan: from a fixed point 

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‘Gouache’ is the final movement from the orchestra suite ‘Portrait of FH’, a work about the life of artist Frances Hodgkins. At the premiere the music was interspersed with readings from Hodgkins’ diaries, and prints of her paintings were shown. However, the music can be performed without the multi-media aspect fo the work.

‘Gouache’ is strange and colourful in sound, reflecting some of those extraordinary late works of the artist. (Gouache is a heavier and more opaque medium compared with water colours, with a binding agent added into the mixture.) There is also struggle and pain in this music, and it attempts to become heroic in tone towards the end, before collapsing into an unresolved ending. Hodgkins had to struggle very hard for recognition during her life, and endured a great deal of loneliness in the pursuit of her art. The artist herself is symbolized in the music by the presence of the piano, an instrument she enjoyed playing. All movements are connected by the use of a musical motif, F-B which, when using the traditional German note names, spell F-H. This motif, representing Frances, is also a reference to the whimsical, poignant self-portraits she painted.

• Anthony Ritchie: Gouache - hardcopy score 

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• Anthony Ritchie: Gouache - hire set 

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• Anthony Ritchie: Gouache - downloadable PDF 

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This piece is an hommage to Witold Lutoslawski. In an interview he once said, “I wanted to restore the pleasure of playing music.” Lutoslawski was referring to the tendency toward extreme complication in contemporary music of the 20th century. His solution to maintaining a fresh, contemporary sound while not torturing his performers was simple, yet ingenious …

• Margetic: Hommage a W.L.; computer-set 

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• Margetic: Hommage a W.L.; computer-set 

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• SMP Ensemble: Podroze - Journeys 

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Impossible Songs was written in 2009 for the Karlheinz Company, with funding from Creative New Zealand. Each movement derives its title from Alan Loney’s dear Webern, a poem composed of selected phrases from the letters of Anton Webern.

• Holloway: Impossible Songs; computer-set 

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• Holloway: Impossible Songs; computer-set 

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• Samuel Holloway: Impossible Songs 

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