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This piece can be played as a concerto with string orchestra or as a marimba quintet with string quartet. If the piece is played as a concerto, the second movement should be for solo strings only.

The piece was formally known as the Marimba Concerto, composed in 1990, and revised in 1992, and was first performed at that time by Richard Horne with string players from Auckland University in New Zealand. The piece was inspired partly by the concertos of Antonio Vivaldi and uses some techniques found in his concerti, such as elements of ritornello form and decorated melodic patterns in the slow movement. The 12-chord harmonic sequence of the first movement acts as a kind of “tonic” or home throughout that movement which utilizes both the rich chordal sonorities and more dexterous melodic capabilities of the marimba. The second movement is more expressive and defies a common misconception that percussion instruments are not suitable for emotion and sensitivity. The last movement was inspired by hearing the pounding rhythms and energy of African drumming and marimba playing and includes a cadenza which uses the full range of the solo instrument.

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• Camm: In the Teeth of It; computer set 

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Maui Tikitiki a Taranga (“Maui formed in the topknot of Taranga”) was a demi-god found in the tribal myths of the Māori people of New Zealand.

Maui, the fifth and youngest child, was born at the edge of the sea. His mother, Taranga, thought he was stillborn, and wrapped him in a tuft of her hair and set him adrift. He was cared for by the seaweed until a breeze blew him ashore, where he was saved and brought up by one of his great-ancestors.

Maui was a great prankster. In one of his mischievous moods he decided to put out all the fires in the world. To bring fire back, he had to find Mahuika, the goddess of fire. He was awestruck upon meeting her, but decided to play a trick on her by taking fire from her fingernails one at a time, until she realised his game and threw fire to the ground, catching everything alight. Maui changed himself into a hawk to escape the flames, which singed his feathers. He called upon his ancestor to send rain and drench the fire, depriving Mahuika of her powers.

Maui decided to defeat death by journeying to where the earth meets the sky, where lived his great-ancestress Hine nui te po (“Great Hine the Night”). He was accompanied by many birds, and told them his plan to enter the body of the sleeping Hine and so defeat death. The birds sat quietly trying not to laugh as Maui, in the form of a caterpillar, crawled towards Hine. Suddenly the fantail could be quiet no longer and laughed aloud, dancing about with delight. Hine awoke with a start, realised Maui’s trickery, and he was killed.

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• Maria Grenfell: Maui Tikitiki a Taranga - downloadable PDF 

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• Buchanan: The Mansfield Stories; computer-set 

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• Dorothy Buchanan: It Began with a Pony  Year: 1998 

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“The music flows seamlessly and the instrumental writing is grateful to play.” Quote from SPNM London

• Denis Betro: Rosin the Bows - hire set 

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The titles of the five movements give the outline of a Serenade in the most literal and traditional meaning of the word. The Flourish aims to capture the lady’s attention; through the Romance, Dance, and Aria the suitor presses his cause, and in the Finale the couple celebrate a successful outcome. I wouldn’t, however, suggest that this story line be taken too literally! The music, I hope, speaks for itself. The Aria gives the double-bass a chance to shine as a soloist, and the Finale refers back to earlier material, then skips for joy, and finally relaxes into a tranquil ‘apotheosis’. This Serenade was commissioned by Denis and Verna Adam to celebrate their fortieth wedding anniversary. The first performance was given by the NZ Chamber Orchestra in September 1993.

• Farquhar: Serenade for Strings; facsimile 

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• David Farquhar: Auras  Year: 1997 

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These works (Sinfonia Opus 11a and String Quartet Opus 11b) are two versions of the same composition, and are a musical autobiography. Ray was born in England and lived through seven years of destruction, spending many nights in air raid shelters listening to the sounds of total war. An air raid, with its sirens, the drone of bombers, bombs dropping and anti-aircraft fire can be heard in the first movement. The main theme, which occurs soon after the opening, reappears inverted after the air raid – symbolic of the utter chaos prevelant at that time. However, like the Phoenix rising from the ashes, the theme not only corrects itself but changes from minor to major modality near the end. The second movement represents New Zealand with its bitter-sweet memories for the composer. New Zealand is a beautiful country. The humerous third movement, called “England again” is scored pizzicato throughout, and leads to the final movement “Canada” – big Canada, magnificent Canada, vast Canada, noble Canada, free Canada, beautiful Canada…. the huge but simple harmonies near the end are Ray’s interpretation of the optimism he feels for the country.

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• Reflections - Music Composed by Ray Twomey 

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At age 15, during school holidays, I hitch-hiked the length of New Zealand from Dunedin to Auckland with various side trips in between. The sheer beauty and panorama of rolling hills, lofty mountains and shimmering sea entered my soul and stayed there. Sleeping rough in the great openness somehow connected me to the natural wonders that were all around me and this connection became ingrained and part of my being.
The composing of my first symphony allowed me to relive that life changing experience and the work recalls impressions and emotions that I felt at the time, but not specific places.
-Denis Betro

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• Dorothy Buchanan: It Began with a Pony  Year: 1998 

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• Keay: Viola Concerto; computer-set 

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• Nigel Keay: Viola Concerto; audio 

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• Nigel Keay: Viola Concerto - First Movement; audio 

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