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‘Alegria’ is an education piece for children of primary school age. It focuses on aspects of rhythm and ostinato, and it is based on the flamenco principle of 3+3+2+2+2 (12 beat cycle). Flamenco music is based on Spanish gypsy music, and is often accompanied by clapping, so there are clapping parts included for members of the orchestra. The audience may learn the simple clapping patterns so they can accompany the orchestra when they hear the patterns. The central section in 5/8 is intended as an asymmetrical contrast to the duple and triple meters of the outer sections. “Alegria” means ‘joy’ or ‘happiness’ in Spanish.

• Grenfell: Alegria; computer-set 

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• Grenfell: Alegria; computer set 

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• Maria Grenfell: Alegria and River Mountain Sky 

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• Fanfares for a New Millennium  Year: 2000 

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• Meridan: blast; computer-set 

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• Meridan: blast; computer-set 

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• Lissa Meridan: blast!; audio 

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When I arrived at the Royal College of Music in London, in September 1937, and was accepted as a student by Vaughan Williams, he put me through routine disciplines of writing fugues and part-songs, and then one day said: “Isn’t it time you composed something?”

I accepted the challenge and produced by Drysdale Overture, with its nostalgic memories in a musical language which rather disconcerted him. Still more did it upset Sir George Dyson, who brilliantly realised my rough orchestral score on the piano and then said: “Don’t bring me another manuscript like that.” He did, however, give it a reading rehearsal with the RCM first orchestra, and I took steps to improve my musical handwriting.

In those far-off heady days, Hans Keller’s “functional analysis” had hardly impacted on the RCM – we students ignorantly and derisively called it “sweet FA”. And so I may hardly provide an “analytical synopsis”.

With my meagre knowledge of classical forms, I thought that proper overtures should have a solemn introduction, with motifs recalled later in various structural guises, and that they should have a contrasting “second object” – hence my nostalgic oboe tune, with fitting Scottish inflections. Curiously, what might have been a routine “development” turned into a sunlit rondo, nostalgic of childhood happiness.

I’m left with that lovely Mark Twain image of Jim and Huckleberry drifting on their barge down that great river, looking up at the stars and wondering “whether they was made, or only just happened”.

Douglas Lilburn
14 October 1994

• Lilburn: Drysdale Overture; computer-set 

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• Douglas Lilburn: Drysdale Overture; audio 

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• Alfred Hill and Douglas Lilburn- Wellington Chamber Orchestra Vol. 2 

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• Landscapes: New Zealand Orchestral Music 

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• Douglas Lilburn: A Song of Islands  Year: 1987 

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• Lilburn: Prodigal Country  Year: 1987 

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• Lilburn: Prodigal Country  Year: 1987 

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• Douglas Lilburn: Orchestral Music  Year: 1995 

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• Douglas Lilburn: Orchestral Works   Year: 2004 

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• Island Song  Year: 2010 

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• Margetic: Dubina; computer-set 

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• Karlo Margetic: Dubina; audio 

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• NZCT Discovery Concerts 2006 Study Guide CD  Year: 2005 

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• Meridan: Firecracker; computer-set 

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• NZ Women Composers Vol. 2 

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• Fanfares for a New Millennium  Year: 2000 

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• Gareth Farr: From the Depths Sound the Great Sea Gongs - hardcopy score 

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• Gareth Farr: Orchestral Music  Year: 1997 

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• Symphony of Sails  Year: 2002 

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• Gareth Farr: From the Depths Sound the Great Sea Gongs  Year: 2009 

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Luminous was one of the ‘Century Fanfares’ commissioned by the Auckland Philharmonia from ten New Zealand composers in 1998. The composer writes: ‘When I was invited to write a fanfare for the new millennium I inevitably found myself considering the last one thousand years. For me, the single most striking feature of human history during the last millennium has been the increase in travel and the settling in foreign lands of smaller and smaller groups. In the distant past, an entire race of people would slowly traverse one continent. Today, an individual, in the space of a few days, is able to completely uproot from their homeland and settle in a country on the other side of the world. A friend of mine, Pan, moved to New Zealand from China. For her, the pressure to integrate two very different sets of beliefs proved ultimately overwhelming. This work is dedicated to her memory.’

• Psathas: Luminous; computer-set 

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• John Psathas: Luminous; video 

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• Fanfares for a New Millennium  Year: 2000 

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• Dadson: MAYA; facsimile 

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• Dadson: MAYA; facsimile 

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• Buchanan Dadson Fisher: works 

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• Philip Dadson: Maya 

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• Fanfares for a New Millennium  Year: 2000 

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• Psathas: Saxophone Concerto; computer-set 

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• Psathas: Omnifenix; computer-set  Year: 2006 

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• John Psathas: Omnifenix (part 3 of 3); video 

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• John Psathas: Omnifenix (part 2 of 3); video 

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• John Psathas: Omnifenix (part 1 of 3); video 

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• Omnifenix (Part 2 of 3); Brecker; video 

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• Omnifenix (Part 1 of 3); Brecker; video 

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• Omnifenix (Part 3 of 3); Brecker; video 

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• John Psathas: Omnifenix 

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• John Psathas: View from Olympus (Three Concertos) 

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• Grenfell and Psathas: Works 

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• Psathas: Omnifenix (Saxophone Concerto) 

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• John Psathas: Various Works 

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