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2222; 4331; timp; 2 perc.; strings

In 3 movements, this work was reviewed as follows, “There are proper tunes, there are pattems that can be traced, brass and percussion in abundance, and rhythms that dance light off the stage at you.” Christchurch Press 11-95. This work was commissioned and premiered by the Christchurch Symphony Orchestra.

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2222; 22; timp.; perc.; str. with solo violin, solo cello, and solo piano

The title of this work Convergence, occurred to me only after it was complete and it relates primarily to the second movement, which opens with a prelude that introduces somewhat pointillistic musical elements that eventually “converge” into a Passacaglia.

There are three main sections in this work. The first two could be described as “movements” and the third a reprise of the Fantasy but substantially altered. Much of this piece is composed using a system of note clusters in a somewhat tonal environment, but Passacaglia inhabits more familiar territory.

The two cadenzas in this work are for the solo strings, the cello cadenza is in the first movement and the violin’s is at the end of the Passacaglia. It seemed unnecessary and perhaps arbitrary to write a piano cadenza – there being a number of occasions where the piano has fairly virtuosic solo passages.

Michael Williams

• Williams, M. F.: Triple Concerto - Convergence; computer-set 

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• Williams, F. M.: Convergence - Triple Concerto; computer-set 

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2222; 2200; 2 perc (bass drum, side drum, glock, xylophone, sus. cymbal, strings (87652 approx)

The Double Concerto was designed to explore the unusal combination of solo instruments, extend the soloists and, at the same time, be performable by regional orchestras.

The opening movement has a lilting quality and is based on the Brahms’ lullaby, which only appears (abridged) at the end, played on glockenspiel. The three themes that appear in this movement are related, in some way, to this lullaby. The movement is dedicated to my daughter Annabelle, who was born some months before the composition of this work. A short melody based on letters from her name (A-A-B-E-E) is played by the soloists in the coda.

By contrast, the second movement is fast and jagged, with a somewhat playful second theme shared between the soloists and woodwinds. The main theme has a toccata-like quality, and builds up to a strong conclusion.

Whereas birth was the theme behind the first movement, it is death that concerns the third, and in particular the sudden death of a close friend and musician, Angela Campbell, at the time of writing this concerto. It is an intimate piece for the two soloists only, and based on letters from Angela’s name (A-G-E-A) which are heard at the beginning as a recurrent bass line. The cello melody at the start is a variation on a melody from the first movement, suggesting birth and death are inextricably linked.

The mood lightens in the finale which is a slightly bizarre waltz based on two contrasting themes. Near the end, the soloists have a cadenza which flows into the coda uninterrupted.

• Anthony Ritchie: Double Concerto for bass clarinet and cello - hire set 

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• Anthony Ritchie: Double Concerto for bass clarinet and cello - hardcopy score 

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• Anthony Ritchie: Double concerto for Bass clarinet and Cello 

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• Remember Parihaka - orchestral music by Anthony Ritchie  Year: 2009 

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1111;1120;-;strs.

• Hamilton: Double Percussion Concerto; computer set 

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• Hamilton: Double percussion concerto; computer-set 

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• Auckland Philharmonia Orchestra: New Zealand Music 1  Year: 1990 

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Orchestra:(1)2,2,2(1),2(1); 4331; timp., perc. (3), hp; strings. (Percussion: small and large suspended cymbals, tam tam, glockenspiel, vibraphone, xylophone, tubular bells, snare drum, 2 bongos, 3 tom toms, bass drum.)
Brass Band: sop cornet, solo cornet, 1st cornet, 2nd cornet, 3rd cornet, flugelhorn, tenor horn, baritone, tenor trombone, bass trombone, E flat euphonium, E flat bass, B flat bass

In composing this concerto I recognise two contrasting musical cultures within the European artistic tradition. The Brass Band represents what I call a ‘closed’ musical system portrayed by its standardised instrumentation heard to great effect in its stirring marches, sonorous hymn playing, contest pieces and arrangements of popular and show music, while the orchestra with its dazzling array of many instrumental colours, its flexible instrumentation and its potential for pushing musical boundaries, represents an ‘open’ musical system. I wanted also to exploit the virtuosic capacity of the brass band as a concerto soloist and to celebrate through this work the unity and solidarity amongst brass musicians.

Europa is a one movement work in five main sections which alternate slow atmospheric music with a fast and rhythmic style. The latter is heard in the many rapid passages which switch from band to orchestra and vice versa. Notable also is the relationship between the band and the orchestra particularly in the cadenzas for the brass band followed by the orchestral brass.

I was spurred into composing this work after reading about Europa, one of the large moons of the planet Jupiter first seen by Galileo in 1610 and named after a goddess of Greek mythology. Such thoughts were instrumental in generating my first musical ideas, for instance the name ‘Europa’ is represented by a six note melody heard throughout the work. However, my initial thoughts about Europa receded as I explored and developed the musical material. ‘Europa’ was commissioned by the Auckland Philharmonia. The work was first performed by the Dalewool Auckland Brass and the Auckland Philharmonia conducted by Miguel Harth-Bedoya on 13 June 2002 in the Auckland Town Hall.

• Rimmer: Europa; computer-set 

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• Rimmer: Europa (Brass Band score); computer-set 

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• John Rimmer: Europa; audio 

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• John Rimmer  Year: 2002 

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• John Rimmer: Europa  Year: 2002 

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2222; 4331; gamelan; perc; strings gamelan: suling, kendang, ceng ceng, gongs, 2 gangsa, 2 calung

Jangeran seeks to bridge the musical gap between East and West: a Balinese melody is appropriated by the Western orchestra and is recast in a range of Western contexts. At various points a gamelan ensemble, embedded in the Western orchestra, emerges and reasserts ownership of the musical source materials while at other times the two bodies combine to explore new and strange syntheses of culture, movement and soundworlds.

Jangeran was commissioned and premiered by the Nusantara Symphony Orchestra in Jakarta in May 2005, conductor Edward Van Ness, with further performances in Osaka and Tokyo, Yogyakarta and Jakarta.

• Watson: Jangeran; computer-set 

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• Watson, C.: Jangeran; computer set 

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2 pic.,1fl.,3ob.,3cl.,2bsn,1c.bsn.; 4,2,3,1; timp.,3 perc., cel., hp, pno; strings; Gamelan Orchestra.

Tabuh Pacific was composed as a lively dialogue between two diverse instrumental ensembles, the symphony orchstra and the Balinese gamelan. Like the orchestra, the gamelan is a large ensemble of multiple timbres, primarily percussion.

The pitched elements of the gamelan gong kebyar are tuned to a five-note scale covering several octaves, and each member of the ensemble plays a limited number of single pitches. Consequently, the music of one individual in the group is meaningless until it weaves and blends with the other players to create a multitude of intricate, delicate patterns. These patters (kotekan) shift and interlock in subtle, graceful combinations which are occasionally articulated by the booming resonance of the largest gongs, and the drums which signal time and sectional changes.

Tabuh Pacific is sort of concerto for two orchestras which take turns in displaying the types of sounds with which they are traditionally associated – the gamelan, bright and energetic or smooth and flowing; the orchestra, heavy and romantic or transparent and static. The groups alternate for a while and then come together in a crazed romp at the end of the piece.

Gareth Farr

• Farr: Tabuh Pacific; computer-set 

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• Tabuh Pacific  Year: 1995 

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• Gareth Farr: Orchestral Music  Year: 1997 

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• Gareth Farr: Te Papa  Year: 1998 

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222(bscl)2(ctrbsn); 3211; percussion; strings

The Voice Inside, a concerto for violin, soprano and orchestra, was commissioned by the BBC and comprises settings of seven poems by Ron Butlin relating to the violin.

The various movements of the concerto explore different relationships between the two soloists and the orchestra. The soprano is mostly unaccompanied in the first movement, but as life is breathed into the violin it refuses to be hushed by the voice. The first scherzo is a game of tag and catch between the two soloists, with the orchestra acting as a referee. As befits a concerto, confrontation between violinist and orchestra begins the third movement. This grows into a three-way conflict once the soprano enters. The slow movement is an intense cantilena for the two soloists, with, for the most part, light orchestral accompaniment. In the second scherzo flashy violin writing alternates with orchestral outbursts and the soprano’s attempt to reel off the names of virtuoso violinists. The burlesque, with its reference to twelve equal tones, makes some misguided allusions to the Violin Concerto by Alban Berg, and the last movement is a desperate plea,simply asking to be heard.

Notes taken from Cresswell: The Voice Inside, NAXOS 8.570824

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2232; 4231; perc (tub bell, glock, marimba, xylo, cym, guiro, maracas, tamb, s-dr,b-dr, t-toms, tri, sleighbells); strs

Scored for E flat, B flat and bass clarinets with orchestra this work was reviewed as, “a magnificent reward to the Auckland Philharmonia Orchestra…a civilised and serious piece, but also delightfully witty…scored with a delicacy and sophistication that shows a very sure ear, alert to the details that enliven an orchestral score.” Rod Biss, NZ Listener “The music is over-flowing with colourful percussive strokes and tongue-in-cheek parody.” Matthew Suttor, Music in NZ “The three clarinets effectively behave as a ‘super-clarinet’ with an enormous range of five octaves. Set against the other instruments…the result is a vibrant glitter of timbre.” Suzanne Court, Music in NZ.

• de Castro-Robinson: Triple Clarinet Concerto; facsimile 

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• de Castro-Robinson: Triple Clarinet Concerto; facsimile  Year: 1995 

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• Eve de Castro-Robinson: Other Echoes, music for orchestra 

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• Auckland Philharmonia Orchestra: New Zealand Music 5 

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• De Castro-Robinson: Triple Clarinet Concerto and other works 

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