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A music-theatre work especially written for Wellington pianist Dan Poynton. Although referring indirectly to religious symbolism, the composition focuses on the physical and mental stress that pianists submit themselves to.

• Body: 14 Stations; computer-set 

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• Jack Body: 14 Stations 

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• Body: 14 Stations 

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• Body: 14 Stations; cassette 

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• Crehan: Aftermath; computer-set 

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• Crehan: Aftermath; computer-set 

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• Buchanan: An Ocean Between Us; computer set 

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• Buchanan: An Ocean Between Us; computer-set 

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• Buchanan: An Ocean Between Us; computer-set 

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Anastasis is an exploration of musical contrasts where chamber music elements of intimacy and social interplay are juxtaposed with the colour and power of a full symphonic orchestra. Baroque Concerto Grosso traditions form the conceptual basis of Anastasis: instrumental divisions within the orchestra, like the wind sections, are exploited, and new instrumental groupings have been created using combinations of individual players across the ensemble. Elements from the twentieth century Concerto for Orchestra form have also been utilised, particularly the focus on the diversity of instrumental colour, extended instrumental range and virtuosity, and the array of dynamic and textural possibilities.

“Anastasis, our first taste of the APO’s resident composer, Chris Adams, proved to be a most attractive score.

Adams knows where and how to uncover unexpected colours in a piece that enjoys jolting us with huge orchestral shouts in among more subdued, almost filigree passages.

The second movement unfolds, with woodwind patterning, from lounge-laden harmonies and Adams nods to all manner of musics throughout the piece, right through to its conga-line finale.

It is an appealing score that deserves a life beyound this single performance."

William Dart, NZ Herald 7th September, 2009
For the full article please click here

• Adams, C.: Anastasis; computer-set 

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• Adams, C.: Anastasis; computer-set 

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• Adams, C.: Anastasis; computer-set 

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• Chris Adams: Anastasis - Auckland Philharmonia Orchestra 

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The tension between the piano’s percussive mechanism and the fluidity of water has borne fruit in countless works for piano: from Ravel’s Ondine and Chopin’s Raindrop Prelude, to Schubert’s Am Meer. Not coincidentally, these works were among those played by my grandmother as silent film “scores” in the small New Zealand town of Takaka. In Aquamarine watery fragments from the musical past refract and reflect.

• Palmer: Aquamarine; computer set 

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• Palmer: Aquamarine; computer set 

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• Music by Juliet Palmer I 

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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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• Cree Brown: Celestial Bodies; computer-set 

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• Cree Brown: Celestial Bodies 

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Michael Norris’ article, Notes from a compositional/pedagogical apprenticeship, (printed in CANZONA 2005) is used as starting point for this piece. It is intended to be an artistic response to the article, a tongue-in-cheek realisation of some of the conceptual aspects that Michael discusses.

• Adams, C.: Clarinet Quartet - "The Liberation of Mr Norris"; computer-set 

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• Adams, C.: Clarinet Quartet - "The Liberation of Mr Norris"; computer set 

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• Adams, C.: Clarinet Quartet - "The Liberation of Mr Norris"; computer-set 

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• Adams, C.: Clarinet Quartet - "The Liberation of Mr Norris"; computer set 

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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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