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Dorothy Ker  

[...and...1]

Duration: 13' 00" Year: 2003
for clarinet in A

  • Programme Note

    This piece was composed in close collaboration with Andrew Sparling whose facility in using quarter-tone fingerings made it possible to experiment with these to produce music which exploits their timbral and colouristic qualities. It was stimulated by a return visit, following a seven-year absence, to New Zealand in 2002. Imagery of the sea is strong within its musical/poetic discourse and the piece is broadly structured over a cycle of seven ‘intensity waves’. The title is shared by an earlier work […and… 11] for 12 players (composed for Lontano in 2002). The link between these contrasting works is the morphology of the wave, encapsulated as a sonic envelope of aspirate (a) – resonant (n) – explosive (d), along with the extremes of space that are characterised in the music by extreme contrasts in dynamic, register and motion. Sparling has performed and recorded the piece in a number of different realisations. In April it was performed by Australian player Richard Haynes at the TURA International Festival in Perth and broadcast by ABC.

  • Availability

Ross Carey  

A Little Suite for Yuji and Rieko

Duration: 12' 00" Year: 2003
for violin and piano

Jodi Chen  

A message to Han Cho

Duration: 06' 06" Year: 2003
for orchestra

  • Instrumentation
    1 piccolo, 2 flutes, 2 oboes, 2 clarinets in B flat, 1 bass clarinet in B flat, 2 bassoons, 4 French horns in F, 2 trumpets in C, 2 trombones, 1 bass trombone, timpani, percussion 1: suspended cymbal, percussion 2: triangle, harp, vibraphone, strings
  • Programme Note

    A message to Han Cho (the Yangzhou magistrate) for orchestra was inspired by the Chinese poem, A message to Han Cho by Du Mu (803-852AD, China) in the Chinese Tang dynasty. In this poem Du Mu expresses the sadness of the magistrate yearned for the day to return to his distant love. This orchestral work contains musical ideas influenced by the Eastern culture and utilising Western orchestration to imitate the sound of Chinese instruments (Chinese zither and vertical bamboo flute) to purposely maintain the cultural connection with the original tenor of the poem. To achieve this synthesis I experimented with the pronunciation of the poem in Mandarin, and then compose the melodic lines to suit the four-line poem which became the theme of the music. The image of a fair lady plays the flute under the moon on the Twenty-Four Bridges is a traditional Chinese painting specially selected for this particular poem.

    青山隱隱水迢迢, From mist the green hills emerge and afar the river flows,
    秋盡江南草木凋. grass still grows in Jiangnan, yet the end of fall is close.
    二十四橋明月夜, Over the Twenty-Four Bridges the bright moon glows,
    玉人何處教吹簫. where the fair lady teaches the flute no one knows.

  • Availability

Gareth Farr  

Ahi

Duration: 16' 00" Year: 2003
for piano trio

  • Instrumentation
    for violin, cello and piano
  • Programme Note

    In January 1998 Gareth Farr was commissioned by the James Wallace Chariable Trust to write this Piano Trio for the Ogen Trio, a leading NZ ensemble. Taking its subtitle Ahi from the Maori word for “fire”, it received its debut performance in Auckland, NZ in March 1998 in the presence of the composer. The style of the work varies in each of the four movements: the flavour of a French lullaby predominates in the first; an intense and unrelenting second movement harbours overtones of a Russian military factory; whilst a Balinese pop-inspired fourth movement contains numerous gamelan-like effects. The brief third movement is merely a quiet interlude, with a melodic reference to the first movement. The composition stands in stark contrast to Farr’s previous works. He has experimented with stripping away the density characteristic of past compositions in favour of clearer textures, exploring classical form, and allowing a simplicity of line to come through and speak for itself.

  • Availability

Ross Harris  

As though there were no God

Duration: 18' 00" Year: 2003
for orchestra

Ross Harris  

At the Edge of Silence

Duration: 11' 00" Year: 2003
quintet for flute, clarinet, violin, cello and piano

Neville Hall  

beasts like shadows in glass

Duration: 05' 00" Year: 2003
for solo horn

Chris Gendall  

Bop

Duration: 10' 00" Year: 2003
for solo trombone and chamber ensemble

Daniel Stabler  

Ccycclohhopps

Duration: 05' 00" Year: 2003
a single movement work for orchestra

Ross Harris  

Chaconne for Solo Viola

Duration: 08' 00" Year: 2003