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3[1.alto.3/picc]3[1.2.ca]3[1.2.bs cl]3[1.2.contra], 4331, timp., 2 perc., piano/celestra, harp, strings[14.12.10.8.6]

The overall conception of the piece is underpinned by an evolving, wave-like movement – continuous cycles stretching/compressing/proliferating. There is a strong connection to the sea, as in [… and…11], composed in 2002. A passacaglia of seven chords, gradually permutating until they eventually assemble into reverse order, form the ground or ‘canvas’. The various textural and linear surfaces of the piece all emerge from this ground as reflections, extensions, compressions, or distillations of the core material. Quarter-tones (division of the chromatic scale into 24 tones instead of the usual 12) enrich and intensify the harmony while rendering it more tactile and less pitch-defined.

Review:

“The 7-minute a gentle infinity…is both atmospheric and deft in Ker’s handling of a large orchestra, subtly dynamic (not least in the use of percussion), edgily communicative, and vibrant in its imagery; a piece full of good things, arguably cut off prematurely. Conducted by Pavel Kotla, the LSO once again suggested that Ker (in attendance) is a composer to watch out for.”

-Colin Anderson, www.classicalsource.com

• Dorothy Ker: a gentle infinity - hardcopy score 

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• Buchanan: A Matter of Timing; computer-set 

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• Buchanan: A Matter of Timing; computer-set 

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• Dorothy Buchanan: A Matter of Timing 

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32(1)2(1)2(1); 4331; timp. (with sus. cymbal), percussion (1: large tam-tam, ocean drum, two tongue drums; 2: bass drum, claves; 3: sus. cymbals, large tam-tam; 4 (optional): wind machine); harp, piano; strings

• Crawford: A Place to Lose and Find Yourself; computer-set 

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• Crawford: A Place to Lose and Find Yourself; computer-set 

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• Matthew Crawford: A Place to Lose and Find Yourself; audio 

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3222; 4231; timp; 2 perc: glockenspiel, vibraphone, large suspended cymbal, small triangle, large triangle, wind chimes, bass drum; harp; strings

• Lodge: Aër; computer set 

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• Lodge: Aer; computer-set 

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• Martin Lodge: Aër; audio 

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4 trumpets, 3 horns, 3 trombones, 1 tuba.

• Farquhar: Divertimento for Brass; facsimile 

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• Farquhar: Divertimento; facsimile 

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• Farquhar: Divertimento for Brass; facsimile  

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4,4,2,2,2

• Farquhar: Epithalamion Overture; facsimile 

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• Farquhar: Epithalamion Overture; facsimile 

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• Farquhar: Epithalamion; facsimile 

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• David Farquhar: Epithalamion Overture; audio 

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• Music for Strings. Vol.3.  Year: 1986 

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• Music for Strings. Vol. 3.  Year: 1986 

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• NZ Flora Series Vol 1  Year: 1986 

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2222 42211 timpani; 3 perc. ; harp; strings

This tone poem, along with ‘High Valley’, was composed to evoke the Rocky Mountains – as seen from the vantage point of Canmore, Alberta. Far Calling includes parts for mixed voices SATB sung to the sound of ‘Ah’. The works honour Canada’s magnificent beauty and its vast open, unspoiled places – truly a garden of Eden.

• Twomey: Works by Ray Twomey; computer-set 

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• Twomey: Far Calling (Opus 22); computer-set 

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• Twomey: Far Calling (Opus 22); computer-set 

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• Ray Twomey: The Spirit of the Land 

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• Ray Twomey: Music for Orchestra and Carillon 

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(1)22(1)22(1); 4331; timp., perc. (2), hp; strings; Percussion: xylophone, vibraphone (with bow), suspended cymbal, crash cymbals, tam-tam, woodblock, bass drum

Fault had its genesis in the line ‘phrases shifting tectonically’ from an electro-acoustic work by John Cousins, and suggestions of subterranean tension and earthquake are perhaps audible.
Fault was written in 2004 and was workshopped by the Auckland Philharmonia Orchestra and the New Zealand Symphony Orchestra. It was premiered by the NZSO at the 2007 Asia Pacific Festival.

• Holloway: Fault; computer set 

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• Works by New Zealand Composers 

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• Samuel Holloway: Fault 

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• Passing - Asia Pacific Festival 2007  Year: 2009 

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2[picc]2[ca]2[bcl]2[cbsn]; 4331; timp.; 3perc.; strings

Feral is the story of a creature that lives somewhere humans seldom go. His environment is dank and dark. Sunlight seldom penetrates the tree canopy – day is differentiated from night only by a thin translucent film. This area is down the side of a hill in a remote, inhospitable valley not easily accessed by others. Perhaps it’s a forbidding lost world at the back of your garden.

The creature is aggressive, easily spurned, and thoroughly anti-social – both by environment and by choice. He has no need of a name, because nobody ever sees him long enough to give him one – or at least nobody lives to tell the tale. You find yourself on his turf. Nobody can hear you.

You’re never to be heard from again.

Feral was workshopped by the New Zealand Symphony Orchestra and conductor Hamish McKeich as a finalist in the 2009 NZSO/Todd Corporation Young Composers Competition. The piece was highly commended through winning the Orchestra’s Choice Award.

• Robbie Ellis: Feral - hire set 

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• Robbie Ellis: Feral - hardcopy score 

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• Robbie Ellis: Feral; video 

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• NZSO/Todd Corporation Young Composer Awards 2009 

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2222; 4321; timp., 2 perc. (tri., 3 suspended cymbals, 2 snare drums, bass drum), piano; strings.

• Farquhar: Harlequin Overture; facsimile 

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• Farquhar: Harlequin Overture; facsimile 

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• David Farquhar: Harlequin Overture 

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