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• Jagger: A New Day Dawns; facsimile 

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• Jagger: A New Day Dawns; facsimile 

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Imagine the harmonics associated with each musical sound as its “aura”. This piece brings these auras into fuller consciousness: at the start the orchestra’s staccato chord is immediately decorated by the solo piano’s flourish on its harmonic series. These auras permeate the work. The piece is in a single movement – its various sections related rhythmically. It was first performed by Barbara King and the Victoria University Orchestra under Peter Walls in August 1995.

• Farquhar: Auras; facsimile 

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• Farquhar: Auras; facsimile 

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• Farquhar: Auras; facsimile 

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• David Farquhar: Auras  Year: 1997 

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The origin of the term ‘cassation’ is clouded with speculation, but around the time of Haydn and Mozart it was used more or less interchangeably with ‘serenade’ and ‘divertimento’. Generally such pieces were for orchestra, and written in an entertaining, less serious vein. The present work for chamber orchestra also is of a lighter character. It has an outdoor flavour, and features uncomplicated, open harmonies, jaunty rhythms and clear melodies.


The first movement has an energetic, raucous character rising out of the resonant sounds of the open strings of violins and violas. Sections of uneven rhythm alternate with simpler passages, as if one were strolling briskly through streets in which various sorts of different activity were going on. The ‘Nocturne’ is pensive and nostalgic. Expressive lines for solo horn and cello rise out of a gentle, rather static atmosphere. The third movement is a short and capricious treatment of the opening oboe theme from Alban Berg’s opera Wozzeck. This scrap of tune – playful but loaded – is introduced upside down here, and is restored to its original shape at the end after some free-wheeling excursions.


Cassation was Martin Lodge’s first orchestral work. It was commissioned by the Wellington Chamber Orchestra, which gave the premiere in 1990.

• Lodge: Cassation; computer-set 

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• Martin Lodge: Cassation 

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• Music by Blake, Lodge and Carr 

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A smorgasboard of the viola repertoire – solo, orchestral and chamber music. Hilarious and fun – you’ve never heard 12 violas sound like this before!

• Utting: Collages; computer-set 

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• Utting: Collages; computer-set 

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• Utting: Collages; computer-set 

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• Utting: Collages; facsimile 

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• Young, K.: Dance; computer-set 

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• fast forward 1998: dance in education  Year: 1998 

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• Kenneth Young - orchestral music  Year: 1998 

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This work for full orchestra was commissioned by the New Zealand Symphony Orchestra. It is inspired by a quote from Comte de Salvandy, “Nous dansons sur un volcan”, said just before the revolution of 1830. The composer comments, “Like many New Zealanders I was born pretty much on a fault line and see music straddling that faultline between emotion and intellect – a harmony of fantasy and logic.”

• Cresswell: Dancing on a Volcano; computer-set 

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• Lyell Cresswell: Dancing on a Volcano; audio 

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• Landscapes: New Zealand Orchestral Music 

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• Norman: Friendship Haiku; facsimile 

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• Norman: Friendship Haiku; facsimile 

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• Orchestral Music by Norman, Ritchie, Elmsly, Farquhar 

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• Philip Norman: Orchestral Compositions 

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• Edwin Carr: Three Orchestral Works  Year: 1987 

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• Marshall: Hikurangi Sunrise; computer set 

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• Wild Music   Year: 2004 

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Commissioned by the Auckland Philharmonia this orchestral work integrates a quotation from a piano piece by Anton Bruckner (“Erinnerung”) with original material and develops them into a new entity. It is a nostalgic dual meditation on the physical landscapes which haunt us and on patterns of cultural and individual memory that make up the background of every human consciousness. Commercially recorded by Trust Records.

• Lodge: Hinterland; computer-set 

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• Martin Lodge: Hinterland; APO; audio 

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• Martin Lodge: Hinterland; NZSO; audio 

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• Lodge: Hinterland; Marshall: Eastman Overture 

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• Lodge and Keay: NZ Music Reading Panel 1998 

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• Lodge: Hinterland 

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• APO play Dixon and Lodge 

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• Landscapes: New Zealand Orchestral Music 

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