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Alexander Cowdell  

A Place of Quiet

Duration: 15' 00" Year: 1987
for solo tenor and chamber orchestra

  • Instrumentation
    flute/picc., 2 clar. (2nd dbls bass cl.); tpt; strings
  • Programme Note

    This composition is a setting of a poem by the Australian philosopher, poet and musician Melvyn Cann. The first part describes a spiritual journey through suffering to transcendence and peace. The second part describes a state of consciousness where both thought and time cease, and only feeling remains.

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Mike Nock  

Aotearoa

Duration: 40' 00" Year: 1981
suite for jazz piano and chamber orchestra

Chloe Moon  

Concertino

Duration: 15' 00" Year: 1983
for flute and chamber orchestra

David Farquhar  

Concerto

Duration: 18' 00" Year: 1992
for guitar and chamber orchestra

  • Instrumentation
    1110; 1000; Perc.; strings (clar. in A)
  • Programme Note

    The Concerto was commissioned by Matthew Marshall and the Wellington Regional Orchestra (now Vector Wellington Orchestra), completed in May 1992 for a first performance planned for November 1992, and later postponed until May 1993.

    This work is in three movements (quick – slow – quick), but these are connected by cadenza-like links for the guitar soloist, so that the music is continuous. In view of the balance problems in a guitar concerto I have written for a small orchestra (flute, oboe, clarinet, horn, percussion and strings), and treated the relationship between solo and orchestra in a concertante style – sharing material rather than opposing each other, and aiming throughout to make the guitar easily audible. Dance rhythms, with touches of rhumba and jazz, predominate in the quick movements, while the slow central movement uses variable speed tremolo on the guitar to enhance its singing qualities.

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Gillian Whitehead  

Eleanor of Aquitaine

Duration: 30' 00" Year: 1982
for mezzo and chamber orchestra

David Hamilton  

Passacaglia

Duration: 09' 00" Year: 1987, r. 1995
for flute and chamber orchestra

Ross Carey  

Pastorale

Duration: 18' 00" Year: 2004
for solo clarinet and chamber orchestra

  • Instrumentation
    solo clarinet in A; 1111; 1110, harpsichord (or pf), strs
  • Programme Note

    While the piece follows in a large part a pastoral ideal, darker elements at times emerge within the musical flow. I was thinking about the less savoury aspects of our ‘clean green’ country, the hidden (and not so hidden) consequences of land clearances and modern farming practices which are not in harmony with the environment. This lends the piece an almost elegiac quality, aided by the solo clarinet’s distinctive timbre and a repeated chorale heard near the end of each movement.

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John Ritchie  

Pisces: Partita Concertante

Duration: 20' 00" Year: 1984
for solo violin and orchestra

Hugh Dixon  

Song Celestial

Duration: 20' 00" Year: 1985
for soprano, dancers and chamber ensemble

Gareth Farr  

Te Parenga

Duration: 08' 00" Year: 2000
suite for clarinet, percussion and strings

  • Instrumentation
    for solo clarinet, percussion, harp, and strings. Percussion 1 (glockenspiel, maraca), Percussion 2 (suspended cymbal, 3 toms)
  • Programme Note

    Bruce Mason’s one-man play The End of the Golden Weather is the story of a 1930s summer spent by the sea, seen through the eyes of a twelve-year-old boy. It is one of the most popular and enduring works of New Zealand theatre, conveying as it does something of the nostalgia shared by most New Zealand for childhood holidays spent at the beach. Bruce Mason performed the work nearly a thousand times over tow decades from 1959, in towns and cities throughout the country, but it was not until 2000 that the play was professionally revived in a performance by Peter Vere-Jones. Gareth Farr wrote incidental music for the production, and later expanded this materials into a four-movement suite for clarinet and string with harp and percussion. The title, Te Parenga, is Mason’s name for the fictionalised Auckland beachfront suburb of Takapuna where the play is set.

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