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Ross Carey  

A Won for Buddha

Duration: 18' 00" Year: 2001
for piano - four hands

Score Sample
  • Programme Note

    Counting through the tones of ‘In a Landscape’ by John Cage, in the manner of counting a rosary. The title means an offering to Buddha; this is not so much a material offering but more that of a good heart.

    Composed in Toronto in June, 2001 and first performed by the Natsuki Emura Piano Duo in a concert of New Zealand piano music at MusiCasa, Tokyo in October 2001.

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Brent Parker  

Achill Suite

Duration: 16' 00" Year: 2002
for piano

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Rachael Morgan  

Armannai

Duration: 15' 00" Year: 2003
for string orchestra

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Eric Biddington  

Concerto for Oboe and String Orchestra

Duration: 16' 00" Year: 2007
for oboe and string orchestra

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Eric Biddington  

Concerto for Viola and String Orchestra

Duration: 16' 18" Year: 2007
for viola and string orchestra

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Thomas Goss  

Concerto in F

Duration: 15' 00" Year: 2002
for violin and string orchestra

Score Sample
Audio Sample
  • Programme Note

    Violin Concerto in F takes its themes and forms from folk song and dance music of old Europe. The first movement is an extended recasting of the classic Scottish Ballad _Wild Mountain Thyme". After an extended introduction that states the melody of the ballad, the music accelerates and tightens into a jig. Throughout the piece, tension is maintained between the free-flowing natural melody and the choreographic energy of 6/8 time, even during the long cadenza. A brief episode from the ensemble brings the music back to the mood of the opening before finishing on a high, unexpected chord.

    The second movement, entitled Reverence, is a synthesis of Balkan choral rhythms and melodies, with shifting bars of 7/8, 3/8, and 5/8. The solo part teams up with principal first and second violin soloists in central episodes reminiscent of choral drone singing of Bulgaria and Macedonia. The title refers to the respect a ballet class shows to their pianist at the end of their time together, and in a greater way the honor we show to those who help to bring our lives meaning.

    Brawl, the title of the first movement, refers not to a fistfight but a round dance of the Renaissance that was popular in England and France in which participants play “follow the leader.” This dance may be the ancient ancestor of hoedown music, to which it bears a strong resemblance. The opening violin solo is derived from a tune of the great French lutenist Robert Ballard, and is answered by a raucous, offbeat countermelody in the strings. The scope of the rhythmic jousting touches on many disparate styles, including spy movie music and a trace of heavy metal before returning to the reel-and-drone of the beginning.

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Christopher Prosser  

Dance Suite

Duration: 18' 26" Year: 2005
for flute and violin

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Thomas Goss  

Greenstone Sinfonia

Duration: 16' 00" Year: 2004
for sinfonia concertante

Audio Sample
  • Instrumentation
    for string quartet and string orchestra
  • Programme Note

    Greenstone Sinfonia is a sinfonia concertante in the classical sense, a multi-movement work in which several soloists work together with the orchestra to make a concerted whole. It differs from a concerto grosso in that its solo parts are more individual, tending to play off, rather than into, the fabric of the orchestra.

    While the music in this piece is in the style of the composer, the name and mood of each movement is derived from the pounamu talismans of New Zealand. Carved by Maori craftsmen in greenstone jade (and sometimes bone), these highly prized objects were not only worn as jewelry: they helped to convey a sense of status and attitude towards life. The different shapes symbolized the relationship of the Maori to nature, their ancestors, and the spirit world.

    A Patu is a war club: as a greenstone it represents facing and overcoming life’s challenges. The first violin soloist introduces a lilting, expectant theme, building as the other instruments join in a song of greeting. A trade-off of solo statements leads to a haka, a slapping, chanting Maori cry of defiance and readiness for battle.

    The highly ornate symbol of Hei matau was used as a charm for safe journey over water, and represents the hook used by Maui to catch the mighty fish that became the North Island of New Zealand. This movement is a peaceful contrast to the first in its lazy rocking meter and billowing phrases.

    Manaia is a spirit that protects and provides for an iwi, or tribe, portrayed in profile as part-way between the worlds of spirit and flesh. The music is spirited and bird-like, fluttering and dancing from quartet to orchestra with the viola as the bridging instrument.

    The ‘cello takes over in the last movement, Koru, named for the spiraling twist of the native fern frond. Paying tribute to that emblem of unfolding nature, melodies unwind with slow, deliberate calm, layering one on another through a simple, hymn-like chord progression into a joyous ode to life.

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Ray Twomey  

Harp - The Herald Angels Play! (Opus 31)

Duration: 15' 00" Year: 2001
for harp and orchestra

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David Farquhar  

Moonshine

Duration: 15' 00" Year: 2002
suite for small orchestra

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