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2232 2200 1perc harp piano strings

you miss swimming in electric lights
between your fingers, the sound of running water
things you had forgotten, left behind:
the chair legs you forgot to felt
the ink-black shirt for every occasion.
the perfect sentence continues to elude you

between is both a musical exploration of acoustic spaces, and also a conversation between past and present, an interaction between my own compositional practice and that of a musical ancestor, the great New Zealand composer Anthony Watson (1933-1973). The shared musical material, from Watson’s Prelude and Allegro (1960) provides the platform on which this conversation takes place, encompassing musical worlds both lyrical and angular, grand and intimate. The poem above is my own.

• Taylor: between; computer-set 

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2222, 4331, timp, 3perc, harp, strings

Blimp [noun] a small, non-rigid airship or dirigible, especially one used chiefly for observation.

• Youens: Blimp; computer-set 

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• Youens: Blimp; computer-set 

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• Ryan Youens: Blimp; video 

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2.2.2.2 2.2.3.1 T.3P.pno strings Percussion 1: Glock, Xyl, S.D. Percussion 2: Tamb, Sus.Cym, 2 Bongos, 4 Tom-toms Percussion 3: Tamb, B.D. (NB: Trombone 3 & Tuba optional)

intransigent (adj): uncompromising, stubborn, persistently irreconcilable, unyielding, intractable, dogged, ceding not an inch, never giving in, always having to have the last word. With this piece, the St Peter’s & St Mary’s Sinfonia won Best Performance of a New Zealand Work in the symphony orchestra category of the 2012 KBB Music Festival.

• Ellis: General Intransigence (hire set); computer set 

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• Ellis: General Intransigence; computer set 

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• Ellis: General Intransigence; computer set 

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• Ellis: General Intransigence; video 

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for string Orchestra, ideally at least 6.6.4.4.2 but can work with fewer: minimum would be 4.4.3.3.1

This work is an exploration of the possibilities of the string orchestra as a body of sound, the orchestra at times acting like one giant super-instrument composed of intricately superimposed layers. Old textures are continually swallowed up, recycled and transformed, playing out a finely balanced tension between static and active, supple and brittle, strong and fragile. From a fluid, tangled haze, individual voices periodically emerge to assert some kind of nostalgic lyricism, but each time they are ultimately subsumed, swallowed up in an eerie, ambivalent mass of sound. Stylistically the music is varied and eclectic, weaving together the intricate, spidery lines of Ligeti, the delicate chordal sonorities of Messiaen, the caustic anger of Shostakovich and even the brooding menace of Anthony Watson.

• Taylor: silk / gravel; computer-set 

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• Taylor: silk / gravel; computer-set 

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3333; 4331; timp; 2 perc; strings

six pieces for orchestra grew out of another, more substantial piece for wind quartet, which in turn was inspired and heavily influenced by Ligeti’s Ten Pieces for Wind Quintet. In some senses this is an orchestration or arrangement of my own work (eight pieces for wind quartet), but the aural experiments set up in that original piece are pushed further here, at times to the point of extreme severity. Three cloud-like movements are broken up by virtuosic, acerbic little interludes, each miniature movement exploring different psycho-acoustic directions and instrumental effects.

Alex Taylor

• Taylor: six pieces for orchestra; computer-set 

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• NZSO Todd Corporation Young Composers Award 2010 

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for chamber orchestra

• Chris White: Train To London 

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