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John Rimmer  

Au

Duration: 13' 00" Year: 2002
concerto for bass clarinet and ensemble

Score Sample
  • Instrumentation
    Flute doubling alto flute; clarinet doubling bass clarinet; horn; bass trombone; percussion (3 tom toms, 2 bongos, 2 suspended cymbals, crotales, vibraphone, bell tree); cello; double bass and bass clarinet solo
  • Programme Note

    Au began as a series of musical reflections on the Auroroa with pitch material based on the name of bass clarinettist Andrew Uren whose initials provide the title. This title, ‘Au’ is also the abbreviation for ‘aurum’, the Latin word for gold. As I was composing I realised that I was dealing with golden qualities not only of the sounds in the piece but also of the musicians in the ensemble 175 East who would be giving its first performance. This was particularly the case with the soloist Andrew Uren whose adventurous bass clarinet playing has revolutionised the way in which composers in New Zealand think about the instrument.

    The work was commissioned by Andrew Uren with funding provided by Creative New Zealand and was first performed on 15 September 2002 at The Space, Wellington, by Andrew Uren and ‘175 East’ conducted by Hamish McKeich.

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Jenny McLeod  

Cat Dreams

Duration: 16' 00" Year: 2008
for nine players

Score Sample
  • Instrumentation
    for piccolo, koauau (or second piccolo), flute, clarinet in B flat, percussion, marimba, vibraphone, harp and piano
  • Programme Note

    My brother and his partner had two black cats, Doris, the elder (and undisputed boss), was half the size of Stanley. The cats arrived one day quite unheralded, realised they were onto a good thing, and promptly settled down as rulers of the house. In old age Doris went slightly spastic and wonky. We all thought she would go first, but she lived my brother.

    Jenny McLeod

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Lyell Cresswell  

Con Fuoco

Duration: 09' 00" Year: 2004
for twelve-piece chamber ensemble

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Gillian Whitehead  

Hineteiwaiwa

Duration: 20' 00" Year: 2006
for taonga puoro and chamber ensemble

Score Sample
  • Instrumentation
    taonga puoro, piccolo/alto flute, flute, bassoon, marimba/percussion, harp, 2 violins, viola, cello
  • Programme Note

    Hineteiwaiwa is a wahine atua – a Maori goddess – the exemplary wife and mother who provided the pattern that all women follow. She assists at the entrances into and the exits from the world, with rituals concerned with tattooing of the lips prior to marriage, with the raising of tapu, and she is credited by some iwi with the introduction of weaving into the culture. Generally, she supports the role of women in traditional society. Hineteiwaiwa was written at the time that Tungia Baker, herself an exemplary wahine toa, or woman of strength, was dying, and is dedicated to her memory. In the improvisatory sections, which are guided and shaped by the taonga puoro player, there are few indications in the score. Generally, the improvisations involve the percussionist. Maori texts, devised and sung by the Kaikaranga, may be integrated into these sections. Also embedded in the improvisatory sections of the piece is a separate vocal composition by Aroha Yates-Smith, woven around the attributes and quality of Hineteiwaiwa.

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Kit Powell  

Salmagundi

 Year: 1998
for brass ensemble and percussion

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John Rimmer  

The Ring of Fire

Duration: 18' 00" Year: 1976
for 16 players

Score Sample
  • Instrumentation
    flute (alto flute, piccolo), oboe, 2 clarinet, bassoon, 2 horn, trumpet, trombone, percussion piano, 2 violin, viola, cello, double bass
  • Programme Note

    The Ring of Fire was commissioned in 1976 by the Music Federation of New Zealand for the visit to New Zealand of the London Sinfonietta. In 1977 the work received a Silver Scroll award for the best concert composition of that year by the Australasian Performing Rights Association.

    The Ring of Fire is an expression which refers to the volcanic activity which rings the Pacific Ocean. The initial idea for this piece sprang from the desire to create an instrumental extension of the composer’s electronic piece White Island, where the sounds convey images of the island’s volcanic energy and intensity. These sounds were then refined and extended to represent an aural image of the wider area of the Pacific.

    The musical material of The Ring of Fire consists of two main contrasting styles of writing. There is music which is an extension of environmental sounds, and music which has a ‘theme’ aspect in its use of specific musical ideas. The contrast of ‘sound’ and ‘theme’ is thus vital to the composition of the work.

    The Ring of Fire consists of five inter-related sections, each with its own subtitle which expresses the mood of the section. The first, Volcanic Birth, presents a dramatic awakening and is scored for a small ensemble of alto flute, double bass, percussion and muted brass. The second section, Thermal Dance, is a lively rhythmic affair. The third section Whakaari (White Island) presents a play of sounds derived from the environment of this foreboding place. Then follows the main climactic section Lahar, where the musical activity rotates around the ring of players. A Lament featuring solo piccolo and small ensemble concludes the work.

    This performance was recorded in 1984 as part of the Asia Pacific Festival in Wellington. The original recording was noise reduced by Wayne Laird of Atoll Records.

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