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2*2*2*2*;4331;Timp 2p;Hp;Str (min:6.5.4.3.2)

Antonyms of Trust is a poem about water; about how our water is being stolen and degraded, about the many New Zealand rivers with signs saying “do not swim – may cause illness” or the dry riverbeds surrounded by farmland with constantly pumping pivot irrigators. “Once upon a better time, the poor man’s wine flowed beneath our feet and bubbled up between the streets…”

• Adams, C.: Antonyms of Trust; computer-set 

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• Adams, C.: Antonyms of Trust; computer-set 

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• The APO Composers' Workshop 2010 

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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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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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Ceremonial Introduction and Dialogue began through a suggestion from my son, Michael, to write a piece for a nonet – clarinet, bassoon, horn, trumpet, percussion (including timpani), violin, viola, cello and double bass – for his colleague musician friends. Periodically, musicians from the Brisbane Orchestra performed a chamber music concert for members and friends – including members’ compositions – calling it “Off the Factory Floor.” The nonet received a couple of rehearsals and was performed, about 1998.

Using, for a start, the theme from Michael’s etude for unaccompanied horn, I “dreamed-up” the idea of setting the ritual opening of a masonic meeting. The order, to which my wife and I belong, is an international one for men and women begun in Paris in 1893. From 1902 it spread it all over the world. The Co-Masonic Lodge in Auckland was founded by C.W. Leadbeater in 1916 and in Wellington, Dunedin and Christchurch later.

The theme from my son’s etude comprised seven pitches each of which later received seven durations. From these I was able to set the ceremonial beginning of a Masonic meeting, followed by the text of the ensuing dialogue. Later, I re-scored the original none for orchestra and revised it in 2012. The music “takes over” in the climax section for full orchestra, leaving behind – for a short while – the obvious dialogue.

- Hugh Dixon 13/08/12

• Hugh Dixon: Ceremonial Introduction and Dialogue - hardcopy score 

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2221; 1210; 2 perc. (bass drum, triangle, marimba); grand piano; strings

n.b. Oboe 2 and Bassoon require a Vibraslap and Tambourine respectively. The piano requires 5-10mm metallic chain/s draped over the strings, from middle C to 2 octaves above.

Cirrus was written to commemorate the 20th anniversary of the Wellington Youth Sinfonietta.

While writing, I was learning to sail and learning to better understand the weather. Often the blue sky would be streaked with cirrus; high cloud made of tiny ice particles, dancing to a secret wind. Before long, troops of cumulus would march beneath the cirrus, followed by towers of cumulonimbus and umbrellas.

In writing this piece, I have sought to express the fragility, beauty, and inexorable movement of the clouds, particularly Cirrus.

• Natalie Hunt: Cirrus - hire set 

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• Natalie Hunt: Cirrus - hardcopy score 

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• Natalie Hunt: Cirrus - downloadable PDF 

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3333; 4331; timp.; 3 perc.; harp; springs.

This piece has essentially become a journey – a journey to nowhere in particular, but one that is filled with a lot of variation along the way. The title for the piece is a sentence composed by Noam Chomsky to be grammatically correct but semantically nonsensical. This sentence seemed interesting as a title because the more one ponders its meaning, the more your own sense and context for it begins to develop.

The inspiration for this piece came from a number of different places: Taking both Toru Takemitsu and John Adams as musical precedents, this piece draws from their compositional aesthetics (with particular focus on repetition of rhythm and gesture); and tries to synthesize that with further influence from jazz music, electronic dance music and film scoring techniques to create a new hybrid form. The structure of the piece is very strongly influenced by the techniques of film editing, rather than more traditional orchestral forms. So instead of a measured progressive development of ideas, the goal was to create something that is very sectional and ‘choppy’.

In composing this piece the aim was to take both the role of the ‘traditional composer’ and the modern pop ‘producer/composer’ and combine these compositional approaches – Developing musical fragments by approximating digital studio effects and editing techniques on acoustic instruments through traditional notation.

This piece was written as part of the composers PhD composition portfolio that is exploring the possibilities of cross-genre hybridity in musical composition.

• Jeremy Mayall: colorless green ideas sleep furiously - hardcopy score 

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2*2*2*2*, 4230, timp, 3 perc, strings

Compass is a reflection of the choices that shape our life and the lives of others. These choices shape our identity, our state, and the world we share. Like many of my works, Compass is strongly influence by landscape and seascape.

• Hunt: Compass (hire set); computer set 

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• Hunt: Compass; computer set 

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• Hunt: Compass; computer set 

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• Hunt: Compass; computer set 

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33*3*3*, 4331, timp, 2-3 perc, piano, harp, strings

A meditation on the brevity of life and the nature of loss, Concerto for Orchestra is one of very few of Samuel Gray’s works not to feature overtly political content. The unconventional, prominent use of the musicians’ voices in addition to their instrumental performances nevertheless marks the Concerto as characteristically Gray.

• Gray: Concerto for Orchestra; computer set 

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• Gray: Concerto for Orchestra; computer set 

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• Young: Douce Tristesse; computer set 

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