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2022; 4331; timp; 2 perc; strings

On May 25 2010, the New Zealand Parliament passed the Sentencing and Parole Reform Bill, also known as “Three Strikes” legislation, sponsored by David Garrett, the ACT Party, and the Sensible Sentencing Trust, and supported by the National Party, under Prime Minister John Key. The law imposes mandatory maximum sentences on offenders who commit three “Strike” offences, removing judicial discretion. An almost identical bill was passed in California in 1994. California’s crime rate remains 11% above the national average, its prison population has increased to nearly 200,000, and its recidivism rate is the highest in the United States.

• Taylor: Attention:; computer-set 

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• Taylor: Attention:; computer-set 

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• The APO Composers' Workshop 2010 

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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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• Taylor: between; computer-set 

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• Alex Taylor: between; audio 

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3(picc).2.3(Eb,Bb,bass).2; 4.3.3.1; T+3; strings

This is a good old-fashioned fanfare – an introductory piece to kick-start a concert. It’s based around what I believe to be engaging tunes, inspiring brass and a healthy dose of celebratory bells, filtered through my own rhythmic and harmonic sensibilities.

Fanfare 10 was workshopped by the New Zealand Symphony Orchestra and conductor Luke Dollman as a finalist in the 2010 NZSO/Todd Corporation Young Composers Competition.

• Ellis: Fanfare 10; computer-set 

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• Ellis: Fanfare 10; computer-set 

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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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This work’s gravitas (characterising quality or attribute) refers to the phenomenon in music where the most prominent or audible elements at any moment in a piece differ from those most important to its construction. (The latter often behave as poles to which the former gravitate.)

Gravitas was composed during the 2010-11 Jack C. Richards/Creative NZ/New Zealand School of Music Composer Residency at the request of Hamish McKeich and the New Zealand Symphony Orchestra.

• Gendall: Gravitas; computer set 

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• Gendall: Gravitas; computer set 

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• Chris Gendall: Gravitas 

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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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2[1/picc.2]222, 4331, timp., 3 perc. (crotales, tubular bells, snare drum, vibraphone w/ motor, marimba and bass drum), celeste, harp, strings

The solar wind permeates space to create the region of which a solar system is defined. Emerging from the source of a star, this gust of particles involves huge entropy. Chaos and order are two formal features which create the boundaries of sound-worlds in the music. Much like the ionising solar-particles in the earth’s atmosphere, so light emission and diffusion is important in the music these light traces existing either in organised patterns or in random arrays.
However the music exists much in its own dimensions and with its own structures. Here, harmony is a sequence of extrapolating pitch patterns of which at times merges through the micro-chromatic divisions. The sections of the orchestra both separate and merge in the purpose of colouring the spectrum of emerging light.
Much of this music has no correlation to anything else, and yet both music and ‘anything else’ share an intrinsic fundamental: the language of concept and structure. An abstract existing in more than one ‘world’ is, in my opinion, a fascinating realisation.

• Reuben Jelleyman: Solar Wind - downloadable PDF 

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• Reuben Jelleyman: Solar Wind - hire set 

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• Reuben Jelleyman: Solar Wind - hardcopy score 

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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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• Perkins: Waltz-Fantasia; computer set 

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