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2 flutes (1st doubling alto flute, 2nd doubling piccolo), percussion (3 gongs, vibraphone, woodblock) and piano

These dark notes drifting takes its title from a poem by 9th century Cinese poet Li Po. Inspired by a Chinese folk tune, the pice evokes distant flutes, coloured by the sounds that one might hear across a valley at night in the spring.

• Grenfell: These dark notes drifting; computer-set 

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thirteen ways of looking at a blackbird is a musical setting of Wallace Stevens’s well-known poem of the same name. The cycle explores a range of musical textures and atmospheres, incorporating microtonal harmony and subtle timbral effects.

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At the 2010 Mazsalaca Young Composers Workshop in Latvia, Samuel made the acquaintance of young Latvian violist and champion of contemporary music Liene Klava, who promptly requested a number of works from him, including this trio.

Encouraged by Liene Klava’s fondness for contemporary music, Samuel has in this work intentionally attempted tempted to free the flute/harp/viola ensemble from the historical restraints of the genre: one that has often treated them as dainty and delicate. A passionate, rock-informed piece is the result.

• Gray: Trio for flute, viola and harp; computer-set 

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• Gray: Trio for flute, viola and harp; computer-set 

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Early in 2010 I wrote Me he korokoro tui for a choral festival. The text of that work made reference to singing and the tui. A native bird of New Zealand. the tui is noted for it’s wide repertoire of song, and the proverb “Me he korokoro tui” means “as sweet throated as the tui”. For that work I sourced some examples of tui song from a pioneering book on New Zealand birds by Johannes Andersen.

In his book Bird-song and New Zealand song birds Johannes Andersen notated around seventy distinctive calls of the tui. He noted: “He sings at all times…by day and by night; at rest and on the wing…”, and also commented that “…the notes of this most versatile bird are different in different parts of the islands; and even in the same locality they vary from season to season, new notes being sounded in addition to old ones repeated…”.

Tui begins by quoting two of Andersen’s notated tui songs, and through the remainder of the work some others are briefly quoted as well. These tui songs were the starting point for a piece which explores varying textures and shifting tonalities, within a strictly rhythmic setting. The music is generally tonal but with an emphasis on harmony rather than melody. The music is quiet throughout and never rises above mezzo-piano, ending in reiterated chords like mist rolling in. The challenge with this piece was to avoid a texture that became too thick or heavy.

“Tui” was written at the suggestion of a former student of mine, Judy Lee. Judy was playing with a group of fellow students at Auckland University, using repertoire for 2 pianos (8 hands) as chamber music study.

• Hamilton: Tui; computer-set 

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• Hamilton: Tui; computer-set 

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vivid

adjective
1. producing powerful feelings or strong, clear images in the mind
2. (of a colour) intensely deep or bright
3. archaic (of a person or animal) lively and vigorous

origin: mid 17th century, from Latin vividus, from vivere “to live”

Vivid is a response to the poetry of Will Christie, in particular her poem Vivid, an incredibly intense exploration and interrogation of language, sexual politics and identity. I was drawn to the percussive, almost violent sibilance that was “ready in the words”: it suggested to me an explicitly musical setting. The music attempts to create a conversation between text and sound while retaining the narrative, wordplay and multiplicity of meaning inherent in the written poem.

Alex Taylor

• Taylor: Vivid; facsimile 

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piccolo, flute, oboe, cor anglais, 2 Bb clarinets, bassoon, contrabassoon, 2 horns in F, 2 trumpets in C, vibraphone, snare drum, cymbals, timpani, harp, strings (with the leaders of the first and second violins, violas and cellos forming a string quartet of four soloists)

Waltz-Fantasia is scored for symphony orchestra. The work is contained within a ternary structure, the central section being a waltz flanked by the two outer ‘fantasia’ sections. The initial ‘fantasia’ section introduces two themes plus other important motives, all of which undergo continual development throughout the composition. The composition contains influences from both Eastern monody and the European ‘waltz’, and explores the permutations of triple time and counterpoint. Waltz-Fantasia is one of several works written for the degree of PhD Composition, Melbourne University.

• Perkins: Waltz-Fantasia; computer set 

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