Search Music:

Scored for flute, clarinet, vibraphone/marimba, piano, violin, viola and cello, this piece was written for performance by members of the Stockhausen’s ensemble, including parts designed specifically for Aloys Kontarsky, Siegfried Palm, and Cristoph Caskel, who, at the time, were the world’s leading performers of contemporary music. To the composer it seemed unlikely the work could ever be played in New Zealand, although it is noteworthy that Douglas Lilburn chose this as the first score to publish under his newly founded Waiteata editions imprint, such was his admiration for the composer’s achievement. However, with growing numbers of skilled and committed performers in New Zealand, ‘For Seven’ eventually received its New Zealand premiere in 1992, by the new music ensemble CadeNZa. Since then it has had several other fine performances here, and well as others in Europe. Recognition of the work’s status within our musical canon can be judged from the simultaneous CD publication of two different versions of the work, one by the UK-based ensemble Lontano conducted by Odaline de la Martinez, and another by Stroma. ‘For Seven’ was one of the first pieces to combine elements from the two major European schools of the time – the Eastern European cluster music, and the serialism of Boulez and Stockhausen. The piece consists of various lines of composed accelerandi and ritardandi, determined by a network of simple numerical ratios. These ratios also govern other aspects of the piece, such as the lengths of sections and the pitch intervals used. Combined with the highly structured ‘foreground’ material is more amorphous ‘background’ material (including some improvisatory elements), with frequent interaction between the two. Though the construction of the piece is complex, the result had a natural musicality and flow. McLeod has said that, although she was not conscious of it at the time of composition, she now hears clearly the influence of the sounds of the New Zealand bush. (Programme note: Mark Jones).

• McLeod: For Seven; facsimile  Year: 1967 

  Full score | Hardcopy - facsimile
  
  $16.00
  • • Quantity:
  • Borrow

• Lontano: New Zealand Women Composers 

  CD
  
  • Borrow

• Waiteata Collection of New Zealand Music Vol. 5 - Composer Portrait: Jenny McLeod 

  CD
  
  $15.00
  • • Quantity:
  • Borrow

• Whitehead/McLeod  Year: 1972 

  Cassette
  
  • Borrow

Four Medieval Lyrics is a song cycle of settings of 14th and 15th century religious and secular verse. The fusion of old and new, of medieval poetic imagery with 20th century musical language offers rich possibilities. Not only the scholar plunders the past, but the composer too, making that past accessible to our modern sensibility. This poetry is distant enough to be treated with a certain detachment and objectivity; at the same time the lyrics have a delicacy, a freshness a restraint which can still speak to us today.
(from Words and Music an essay by Ronald Tremain, November 1988)

The text settings of this work are interspersed with fantasia for the strings; these use both metered and unmetered notation.

• Tremain: Four Mediaeval Lyrics; facsimile 

  Full score | Hardcopy - facsimile
  
  $13.00
  • • Quantity:
  • Borrow

• Music by Ronald Tremain  Year: 1967 

  Vinyl (LP or EP)
  

In many ways Symphony (1968) which was composed in Toronto while I was studying with John Weinzweig, encapsulates what I wanted to achieve stylistically as a composer in this and in subsequent works.

I was interested in exploring a high degree of subtlety in tone colours and dramatic contrasts in rhythm and texture.

I wanted to achieve a string characterisation in the music by contrasting melodic, soloistic writing and contrapuntally inspired textures both fuelled by a lyrical impulse. In addition I wanted to lead my listeners through the delightful complexity of a sonic maze by the repetitions and extensions of clearly defined musical ideas.

These aspects can be heard in the Finale in the contrast between angular, jagged full orchestra textures and the soloist and ensemble sections. The percussion instruments are particularly prominent in this movement and the final climax features several percussive rhythmic layers.

• Rimmer: Symphony (1968) - Finale; computer-set 

  Parts - written | Hardcopy - computer set
  

• Rimmer: Symphony (1968) - Finale; computer-set 

  Full score | Pdf - computer set
  

• Rimmer: Symphony (1968) - Finale; computer-set 

  Full score | Hardcopy - computer set
  
  • Borrow

• Rimmer: Symphony (1968) - Manifesto; computer-set 

  Full score | Hardcopy - computer set
  
  $14.00
  • • Quantity:
  • Borrow

• Rimmer: Symphony (1968) - Manifesto; computer-set 

  Full score | Pdf - computer set
  

• Carr: Three pieces for Violoncello and Piano; facsimile 

  Full score | Pdf - facsimile
  

• Carr: Three pieces for Violoncello and Piano; facsimile 

  Full score | Hardcopy - facsimile
  
  • Borrow