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Antonyms of Trust is a poem about water; about how our water is being stolen and degraded, about the many New Zealand rivers with signs saying “do not swim – may cause illness” or the dry riverbeds surrounded by farmland with constantly pumping pivot irrigators. “Once upon a better time, the poor man’s wine flowed beneath our feet and bubbled up between the streets…”

• Adams, C.: Antonyms of Trust; computer-set 

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• Adams, C.: Antonyms of Trust; computer-set 

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• The APO Composers' Workshop 2010 

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The worship of the Celtic Goddess Sulis and the Roman Goddess Minerva gave rise to the cult of Sul-Minerva at the ancient springs situated in Southwest England. A visit to the site summons up a variety of underground imaginings – dark, steaming pools, slowly dripping water and faster running streams, ancient supplications, sacrifice, curses and prayers, fertility and healing.

• Leonie Holmes: Aquae Sulis - hire set 

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• Leonie Holmes: Aquae Sulis - hardcopy score 

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On May 25 2010, the New Zealand Parliament passed the Sentencing and Parole Reform Bill, also known as “Three Strikes” legislation, sponsored by David Garrett, the ACT Party, and the Sensible Sentencing Trust, and supported by the National Party, under Prime Minister John Key. The law imposes mandatory maximum sentences on offenders who commit three “Strike” offences, removing judicial discretion. An almost identical bill was passed in California in 1994. California’s crime rate remains 11% above the national average, its prison population has increased to nearly 200,000, and its recidivism rate is the highest in the United States.

• Taylor: Attention:; computer-set 

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• Taylor: Attention:; computer-set 

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• The APO Composers' Workshop 2010 

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Orchestrated from the 2010 original, for soprano and piano.

• Stephan Prock: Cages for the Wind - hardcopy score 

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This work was written as part of a series of composer workshops organised by the Auckland Philharmonia Orchestra, for works for organ and orchestra. The Auckland Town Hall organ had been restored and refurbished, returning it to its original splendour as a magnificent concert organ. Six composers were invited to write works for organ and symphony orchestra during 2012, for performance in 2013.

For this work I proposed a work that would contrast percussive sounds with the sound of the organ.

The title appealed to me through its various meanings and associations. Firstly as “a mythological, fire-breathing monster, commonly represented with a lion’s head, a goat’s body, and a serpent’s tail”. Surely if anything could be said to be a musical embodiment of a “fire-breathing monster” it would be the pipe organ! A second definition suggests a ‘chimera’ might be seen as a “grotesque monster having disparate parts”, and also as a “vain or idle fancy”. These last two definitions perhaps relating to the disparate nature of sounds available on the instrument, and the somewhat free-form of the work.

Musically the work contrasts a syncopated one-bar rhythmic idea with more flowing melodic material presented by both the orchestra and the organ. In the final bars the two powerful forces battle for supremacy with the organ having the last word!
I was delighted to be paired with organist John Wells for this project, a musician and fellow composer who I admire greatly (and whose daughters I had taught!). His advice and support were very much appreciated.

-David Hamilton

• David Hamilton: Chimera - hire set 

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• David Hamilton: Chimera - hardcopy score 

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• David Hamilton: Chimera - downloadable PDF 

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• Toan: Concertino; computer-set 

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• Toan: Concertino; computer-set 

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The concerto, in one movement, begins in darkness but soon ascends into lighter worlds as the tempo increases. The personality of the cello – romantic, nostalgic, cheeky, irreverent and even wild imbues the work with a wide range of moods and characterisation.

• Harris: Concerto for Violoncello and Orchestra; computer set 

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• Harris: Concerto for Violoncello and Orchestra; computer set 

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eye-glitter out of black air 3 is part of a cycle of works written for the Slovene wind quintet Slowind. To date, the cycle includes two wind quintets and solo pieces for each of the five members of the wind quintet. All of the chamber pieces from the cyle were peformed by Slowind at the Slowind Festival 2010 in Ljubljana, Slovenia.

• Hall: eye-glitter out of black air 3; computer set 

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• Hall: eye-glitter out of black air 3; computer set 

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While the composer is wary of assigning a fixed meaning or intention to the finished work, there are elements of reflexivity and self-reference at play in the work’s construction. The listener will bring his or her own aesthetic values, experiences and emotions to the work, but the following is provided to complement those, only as a guide to how the piece might be read in one way or another.

The broad trajectory of feel is one of expansion within a framework of introspection. At the outset, the lyrical voice of the cor anglais is trapped in a stifling, hostile environment, which buries the cor in amorphous, alien textures. But by the end of the work, melodic figures saturate the texture, transforming the orchestra from something rather suffocating and claustrophobic to something more open, polyphonic and mercurial. The trapped middle voices gradually expand outwards to incorporate higher and lower registers, more expansive gestures and extend beyond the constraints imposed at the opening.

In many ways for me this is a sort of “coming out” piece, or at least, a piece concerned with the feel of coming out. It contains both confessional and closeted elements, often in conflict, much like in John Ashbery’s “Poem in Three Parts,” from which this work’s title is derived. There Ashbery is both concerned with and ambivalent towards the speaker’s own sexuality; he seems to present the speaker of the poem as almost ridiculous in the way he separates intimacy and emotion, but at the same time there is a kind of positive romanticization of the speaker’s (impossible?) attempt to go beyond sexuality towards simply “feelings”:

“I just have other things to think about,

More important things. Who goes to bed with what

Is unimportant. Feelings are important.

Mostly I think of feelings, they fill up my life

Like the wind, like tumbling clouds

In a sky full of clouds, clouds upon clouds.”

extract from “1. Love” in “Poem in Three Parts” by John Ashbery. Published in the collection Self-Portrait in a Convex Mirror.

feel is not a musical analogy or direct representation of that poem, but it does share similar concerns: closetedness, openness, and an attempt to explore the relationship between identity, intimacy and emotion. For me personally this is a way of extending and opening out my musical language towards something more inclusive – towards a language that recognises not only the difficulties and constraints of lyricism (and of music in general) but also its many possibilities.

The work is in four movements, with a break only between the second and third movements.

• Alex Taylor: feel - hire set 

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• Alex Taylor: feel - downloadable PDF 

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The concerto is composed in the form of a three-part tone poem. Each movement is intended to evoke a different color and aspect of New Zealand scenery, and may stand on its own as a separate performance work.

The first movement, The Domain of Clouds, depicts the ever-shifting mottled whites and pastel greys that sometimes swan, sometimes rage past the composer’s window high on a hilltop overlooking Wellington Harbour. While such colors have inspired the delicacy or harshness of the orchestration, the wayward mood of the New Zealand skies has dictated the progression and development of thematic material.

• Thomas Goss: Harp Concerto - hardcopy score 

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• Thomas Goss: Harp Concerto - downloadable PDF 

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