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2(piccolo)222; 4210; timpani percussion (crash cymbal, triangle, snare drum); strings

• Jameson: A Fan of Nelson Fare; computer-set 

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• Fritha Jameson: A Fan of Nelson Fare 

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3[1.alto.3/picc]3[1.2.ca]3[1.2.bs cl]3[1.2.contra], 4331, timp., 2 perc., piano/celestra, harp, strings[14.12.10.8.6]

The overall conception of the piece is underpinned by an evolving, wave-like movement – continuous cycles stretching/compressing/proliferating. There is a strong connection to the sea, as in [… and…11], composed in 2002. A passacaglia of seven chords, gradually permutating until they eventually assemble into reverse order, form the ground or ‘canvas’. The various textural and linear surfaces of the piece all emerge from this ground as reflections, extensions, compressions, or distillations of the core material. Quarter-tones (division of the chromatic scale into 24 tones instead of the usual 12) enrich and intensify the harmony while rendering it more tactile and less pitch-defined.

Review:

“The 7-minute a gentle infinity…is both atmospheric and deft in Ker’s handling of a large orchestra, subtly dynamic (not least in the use of percussion), edgily communicative, and vibrant in its imagery; a piece full of good things, arguably cut off prematurely. Conducted by Pavel Kotla, the LSO once again suggested that Ker (in attendance) is a composer to watch out for.”

-Colin Anderson, www.classicalsource.com

• Dorothy Ker: a gentle infinity - hardcopy score 

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• Dorothy Ker: a gentle infinity - downloadable PDF 

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• Dorothy Ker: a gentle infinity - hire set 

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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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A Musical Party was commissioned by the New Zealand Accordion Association (NZAA) to commemorate their 30th anniversary in June 2001. The weekend and Musical Party was dedicated to Silvio De Pra, honouring him for his outstanding contribution to the accordion in New Zealand. He has chaired the Accordion Examination Board of NZ Inc. since its inception in 1972 and been chief examiner since 1992.

A Musical Party was premiered by a massed accordion orchestra and conducted by the composer, Gary Daverne. It was later revised and arranged for solo accordion and symphony orchestra, which is the version that appears here.

• Daverne: A Musical Party; computer-set 

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• Gary Daverne: Rhapsody  Year: 2007 

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• Eric Biddington - A Piece for Maurice 

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• Eric Biddington - A Piece for Maurice  

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for 2222; 2231; timp; 3perc; strings

Study in Scarlet (2009) is a short work for orchestra focusing on woodwind and metal percussion timbres. The motivic and harmonic material is derived from tone clock principles and a musical code based on Sir Arthur Conan Doyle’s book, titled A Study in Scarlet.

• NZSO/Todd Corporation Young Composer Awards 2009 

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The composer writes: ”Drafted immediately after reading a book by the Buddhist guru Chögyam Trungpa, Abhisheka was my first-ever attempt at writing music with space in it. Until this piece, practically everything I had written was ultra-caffeinated, fast, full of notes, and murder on performers. But having been (albeit temporarily) inspired by the great truths and peace in Trungpa’s writing, I found myself navigating slower passages of musical time, as well as exploring the microcosm of inner space between the even intervals of our chromatic tuning system.”

Notes taken from Promethean Editions

• John Psathas: Abhisheka - hardcopy score 

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• John Psathas: Abhisheka; video 

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• Biddington: Adagio for Bassoon and String Orchestra; computer set 

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• Biddington: Concerto Movements and Music for Strings 

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• Eric Biddington: Rendez-vous  Year: 2007 

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2(picc)3(ca)3(bass cl) 3 (cb); 4331, harp, 2 perc: glockenspiel, 3 high roto-toms, large suspended cymbal, vibraphone, crash cymbals, 4 concert tom toms, bass drum, tubular bells and tam-tam; strings

My first foray into orchestral writing. Octatonicism abounds! Dedicated to my Dad on his 60th birthday. Adversaria was workshopped by the Auckland Philharmonia, conductor Marc Taddei in 2001.

• Watson, C.: Adversaria; computer-set 

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• Watson, C.: Adversaria; computer 

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Afterword commissioned by the University of Auckland Orchestra and inspired by the history of Anti-Chinese riot in Indonesia. The Tubular bells imitated the bells in the Indonesia temple. The soft dynamics, diminished triads and minor tonality were used to depicting the sense of fear, anger and sadness. The intensive triplets created a sense of uncertainty about the future and feeling of hopelessness as the ethnic Chinese lost their freedom, peace and equality of human rights.

• Chen: Afterword; computer-set 

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• Chen: Afterword; computer-set 

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