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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

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.

• Chen: A message to Han Cho; computer-set 

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• Chen: A message to Han Cho; computer-set 

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1(1)1(1)1(1)2; 4231; timp., 2 perc.; strings

‘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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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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2222; 222; timp; 2perc; strings

The title of this piece translates: "My God, my God, why have you forsaken me?” These were some of the last words spoken by Jesus before he died. It is based on the idea that within everyone there is a desire for more from life, and at times it feels like God has betrayed us.

• Gilmour: Eloi, Eloi, lama sabachthani?; computer-set 

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• Gilmour: Eloi, Eloi, lama sabachthani?; computer-set 

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• 2008 NZSO/Todd Corporation Young Composer Awards 

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2222; 4321; timp.; 3 perc; strings

Gumboot Waltz pays tribute to an iconic Kiwiana, with a few beats added to this traditional dance to accommodate the clumsiness of the heavy-duty footwear.

This piece was given its first public performance by the Burnside High School Orchestra in 2005 and subsequently recorded by the New Zealand Symphony Orchestra at the 2006 NZSO/Todd Young Composer Awards.

• Lin: Gumboot Waltz; computer-set 

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• Lin: Gumboot Waltz; computer-set 

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2(+picc)222,2231, timp, 2 perc, keyboard (or harp and celeste), piano, string

• Holmes: In the Lair of the Cave Weta; computer-set 

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• Holmes: In the Lair of the Cave Weta; computer-set 

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• Holmes: In the Lair of the Cave Weta; computer-set 

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2222; 2221; timp., percussion (1 player: bass drum, snare drum, tambourine), piano; strings

Moto Perpetuo was commissioned by the Wellington Youth Sinfonietta for their tenth anniversary concert in 2003. I was excited about the prospect of composing a work for a group of enthusiastic performers, willing to throw themselves head-first at a challenge.

Moto Perpetuo is inspired by this youthful approach to music making which manifests musically as a sort of exuberant relentless energy.

• Gendall: Moto Perpetuo; computer-set 

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• Gendall: Moto Perpetuo; computer set 

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• Chris Gendall: Moto Perpetuo; audio 

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• NZ Works for Orchestra 

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• Chris Gendall: Moto Perpetuo 

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• Premieres 2004, Volume 4 

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2222; 4331; 2perc; timp; strings

Noughts and Crosses is a series of five satirical vignettes, re-scored from an original set of piano miniatures. The pomp and swagger of the opening is almost immediately undercut by a mischievous woodwind tune, supported by snare drum and rhythmic string pizzicati. This brief and playful first movement ends abruptly, the mood turning seriously Wagnerian and self-important with the full power of the orchestral brass blaring in octaves. Relentless sforzandi and crescendi give way to a single clear horn line, before collapsing back into solemnity. Now the spiky arpeggios of the first movement return, bassoon and clarinet leading a jaunty escapade through fast, limping rhythms. The fourth movement is a passacaglia reminiscent of Shostakovich, arching perpetually downwards into dark string gloom before bursting into a raucous Bartokian crash-and-bash finale.

• Taylor: Noughts and Crosses; computer-set 

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• Taylor: Noughts and Crosses; computer-set 

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• Taylor: Noughts and Crosses; computer-set 

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Pale Sun over Cold Land uses as its form an improvisatory melody over a simple, descending chord progression. In the long middle solo, elements of contemporary Western and Eastern musics are combined in synchronicity, bringing the emotional contour of the overall work toward a close with yearning and optimism.

• Goss: Pale Sun Over Cold Land; computer-set 

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• Goss: Pale Sun Over Cold Land; computer-set 

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• Thomas Goss: Pale Sun Over Cold Land 

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(picc)21(cor)22; 4; perc; cl; string and baritone

Rain is an iconic poem by Hone Tuwhare, describing beautifully a feature of the weather but also subtly ruminating on death. The setting is quiet and lyrical, with an optional part for a rainmaker (to be played by the singer). This setting for baritone and piano was written for Matt Landreth, and recorded by him. The recording and score were auctioned to raise funds for the Otago Hospice appeal in May 2008. The song was subsequently scored for orchestra and recorded by Matt Landreth and the Auckland Philharmonia.

• Ritchie: Rain; computer-set 

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• Ritchie: Rain; computer-set 

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