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solo flute, clarinet, bassoon and strings

Written to highlight the flute in a solo capacity, this work employs clarinet and bassoon in a concertante role. Strings provide the accompaniment.

for solo percussion: triangle (medium size), cow bell, three suspended cymbals (small, medium and large), four temple blocks, a pair of bongos, four roto-toms and xylophone (or marimba); 3120; tenor sax; 0221(opt.); strings

This short work was written for the orchestra of Auckland Grammar School and a talented senior student percussionist. It is in a straight-forward tonal style, including a cadenza for the soloist.

The work consists of three main ideas. Follow a short introduction the xylophone presents the main melodic material of the first idea. The 2nd main idea is chromatic chord that builds through the orchestra several times. Against this the percussion has more angular melodic material and more syncopated rhythmic ideas. The second section builds to a climax which immediately gives way to the 3rd section which is fugal. The melody from the 1st section re-appears, not as the fugue subject, but rather as the counter-subject of the fugue. This section mainly features the woodwind section of the orchestra interacting with the percussionist. The fugue winds down into a short cadenza for the soloist, and then material from the opening two sections is recapitulated in abbreviated form. The music builds to a final climax.

The percussion part avoids exotic or unusual instruments, favouring basic equipment found in most school music departments with an active instrumental programme. The only tuned percussion instrument is a xylophone, with the remainder being a mix of wood, skin and metal instruments.

• Hamilton: Concertino for Percussion and Chamber Orchestra; computer-set 

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• Hamilton: Concertino For Percussion and Chamber Orchestra; computer-set 

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• Hamilton: Concertino for Percussion and Chamber Orchestra; computer-set 

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• Hamilton: Concertino For Percussion and Chamber Orchestra; computer-set 

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chamber orchestra: alto flute, oboe, bass clarinet, bassoon, horn, trumpet, trombone, tuba, perc., strings.

Both So Long, Marianne and I were born in 1967. Leonard Cohen’s song lodged itself in my brain at an undetermined point somewhere between that first release and the present. The moment that stuck in my mind most clearly was when the back-up singers wiggled their way upwards in the chorus on “Marianne” (a moment which fails to reappear in my own version of the song). Now Marianne’s name has gone, and I hope I have found a way to make the song new. I don’t remember ever hearing the words to the verse I’ve set, but I can imagine Trisha on a window ledge, miles above the traffic, stuttering a song of goodbye. So long.

• Palmer: So Long; computer-set 

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• Palmer: So Long; computer-set 

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• Palmer: So Long; computer-set 

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for solo clarinet, percussion, harp, and strings. Percussion 1 (glockenspiel, maraca), Percussion 2 (suspended cymbal, 3 toms)

Bruce Mason’s one-man play The End of the Golden Weather is the story of a 1930s summer spent by the sea, seen through the eyes of a twelve-year-old boy. It is one of the most popular and enduring works of New Zealand theatre, conveying as it does something of the nostalgia shared by most New Zealand for childhood holidays spent at the beach. Bruce Mason performed the work nearly a thousand times over tow decades from 1959, in towns and cities throughout the country, but it was not until 2000 that the play was professionally revived in a performance by Peter Vere-Jones. Gareth Farr wrote incidental music for the production, and later expanded this materials into a four-movement suite for clarinet and string with harp and percussion. The title, Te Parenga, is Mason’s name for the fictionalised Auckland beachfront suburb of Takapuna where the play is set.

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• Warriors From Pluto - music by Gareth Farr 

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• Island Song  Year: 2010 

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