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also available for soprano and orchestra

One afternoon Margaret Medlyn and I sat across her kitchen table to discuss poems I might set as the basis of a song cycle for her. She produced quite a stack of New Zealand poems for me to consider: among the items in this pile was a slim, rather unassuming little volume by Alistair Campbell titled Galliploi & Other Poems. Whilst Gallipoli naturally conjures up powerful socio-historical associations for all New Zealanders, I was almost immediately drawn to the second set of poems in the book titled Cages for the Wind and decided to set the last five poems in the collection as a cycle. What struck me most, and still seems so fresh now, was Campbell’s talent for evoking deeply powerful images and feelings in poems of matchless delicacy and subtlety. This understated approach is what drew me to a poem like “Whitey” in which Campbell couches a rumination on death in what appears to be at first an almost whimsical remembered dialogue with a blackbird (the eponymous Whitey) that used to frequent his garden. Most important for me as a composer, though, was the immediately singable lyricism of the poems. I distinctly recall the way, as I began reading it, “Words and Roses” (the first song, and one of Campbell’s most famous poems), began to suggest musical atmospheres and vocal lines unfolding in my mind like buds of roses unfurling their petals. When poems being to sing themselves to me, I know I have found the right material.

• Stephan Prock: Cages for the Wind - hardcopy score 

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• Stephan Prock: Cages for the Wind - downloadable PDF 

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  $24.50
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for tenor saxophone, bassoon/contrabassoon, 2 flute, 2 clarinet, trumpet, piano, viola, cello, double bass

• Adams, C.: Chamber Concerto for Tenor Saxophone and Contrabassoon/Bassoon; computer-set 

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• Adams, C.: Chamber Concerto for Tenor Saxophone and Contrabassoon/Bassoon; computer-set 

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Cimmerian Cerulean Orb was inspired by the image of our small planet as seen from the outer edges of the solar system, and the idea of its past (or potential future) existence without life. A variety of effects and extended techniques were used to represent some of the sounds of our elements – air, water, fire, earth, combined with certain electronic manipulations that signify the planet’s connection with the cosmos. A structure of sparsity with extended soft sections expresses the desolateness of the expanse, sometimes interupted with violent outbursts.

• Long: Cimmerian Cerulean Orb 

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  $20.00
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solo - flute, oboe, clarinet and bassoon
orchestra - pic, fl, 2 ob, 2 cl, 2 bsn; 4 hns, 2 tpts, 3 tbns, tba; timp, 2 perc, harp; strings

• Toan: Concertino; computer-set 

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• Toan: Concertino; computer-set 

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  $31.00
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two violins

The aim of these duets is to introduce young violinists at a tertiary level to aspects of contemporary composition which they may not have encountered in more conventional repertoire. They were written by Tabea Squire following her research on the subject of ‘difficulties faced by young violinists in learning contemporary music’, as part of her independent study at the NZSM in 2010.

• Tabea Squire: Contemporary Duets - hardcopy score 

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• Tabea Squire: Contemporary Duets - downloadable PDF 

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  $18.50
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for two sopranos, two altos, tenor and base

When American poet Walt Whitman first published his collection Leaves of Grass in 1855, it was notable for its sensual imagery in an era when such carnal expression was considered immoral. On the eve of his 191st birthday, Whitman’s evocative prose was sung in the language of passion.

• Smythe: De La Cuna que se Mece Eternamente; computer-set 

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• Smythe: De La Cuna que se Mece Eternamente; computer-set 

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• Mark Smythe: De La Cuna que se Mece Eternamente 

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• Mark Smythe: De La Cuna que se Mece Eternamente 

  CD
  

• Baroque Voices: Brother Sun, Sister Moon  Year: 2011 

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for flute, oboe, clarinet and bassoon

eight pieces for wind quartet was inspired by Ligeti’s extraordinary, dramatic work Ten Pieces for Wind Quintet, and my eight pieces uses this work as a model, where movements alternate between slow-moving, cloud-like textures and jittery, virtuosic interjections. The fragments of melody are constantly reaching outwards, the tense, at times nightmarish, harmonic language constantly straining, edging towards the elusive octave. Within the twelve-tone framework I wanted to create as much diversity and flexibility as possible, always keeping a tension between motion and stasis. Each piece is a kind of elaboration of the same melodic idea, a blueprint that is constructed differently each time, like seemingly unrelated episodes in a dream. Below is a short poem that I think embodies the miniature nature of each piece and the work as a whole.

miniature

if a dream came to you
you might catch it, hold it,
sculpt from it an elaborate

memory, the husk of a rushed
feeling, the miniature
interior of a moment

- alex taylor

• Taylor: eight pieces for wind quartet; computer-set 

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• Taylor: eight pieces for wind quartet; computer-set 

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  $15.00
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• Taylor: eight pieces for wind quartet; computer-set 

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• New Zealand Music for Woodwind 

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for 13 string players (4,4,2,2,1) or for full string orchestra

Extra chairs or stools: these need to be knocked over loudly, so they must be placed away from the musicians in such a way that they will not fall onto the musicians; 2-4 very cheap old violins and/or violas that can be smashed and destroyed (optional);

Players' voices: the instrumentalists must be of both genders, as both male and females are required to scream and yell

This work begins with two authentic folk melodies from two (European) ethnic groups that, most recently in 2008, were engaged in armed violence. The similarity of the melodies, and the fact that layman cannot tell the two melodies apart, highlights the fact that ethnic hatred requires group-internal discourses to be nourished and exacerbated.

Violence between two or more groups of people that see each other as ‘the others’, continues to shape the lives of millions of people globally.
Composer Samuel Gray has first-hand experience of ethnic violence as an independent volunteer in Kosovo. While Gray realises that is impossible to represent the suffering and terror of war and its emotional and societal aftermath in music and does not wish to belittle such experiences through this work, he believes that in order for contemporary classical music to continue play a role in modern society, it needs to not ignore the problems that modern society has to deal with.

• Gray: Ethnic Conflict for String Ensemble; computer-set 

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  $25.00
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• Gray: Ethnic Conflict for String Ensemble; computer-set 

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• Gray: Ethnic Conflict for String Ensemble; computer-set 

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• Samuel Gray: Ethnic Conflict for String Ensemble 

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piccolo, flute, oboe, cor anglais, clarinet, bass clarinet, bassoon 1 and 2, 3 horns, 3 trumpets, 2 trombones, bass trombone, tuba, timpani, 2 percussionists (crash cymbals, suspended cymbals, roto-toms, claves, rain stick, vibraphone), harp, strings and narrator

“I enjoyed performing and recording Eulogy very much. Such a warmth of texture and harmonies which created a sympathetic palette for Olivia Macassey’s word painting” – Kenneth Young

My decision to set this text for orchestra initially arose, not only from reading the poem and appreciating it for what it is, but also from the recent passing of a dear musician colleague with whom I had collaborated on many early jazz projects.

However, at time of writing, I have become most un-nerved by the senseless loss of young life that has been occurring with alarming regularity at a couple of schools I have recently taught at. It was with these tremendously sad, sudden passings in mind that I completed my work on the piano short score of Eulogy, before commencing work on its orchestration.

Yvette Audain

• Audain: Eulogy; computer-set 

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• Audain: Eulogy; computer-set 

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• Two works by Yvette Audain 

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• The APO Composers' Workshop 2010 

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flute, oboe, clarinet, bassoon, french horn

‘eye-glitter out of black air 1’ is part of a cycle of pieces written for the players of the Slovene wind quintet Slowind. To date, the cycle includes solo pieces for all of the instruments of the standard wind quintet, two wind quintets and a piece for wind quintet and orchestra.

• Hall: eye-glitter out of black air 1; facsimile 

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  $23.00
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• Hall: eye-glitter out of black air 1; facsimile 

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  $27.50
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