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Fritha Jameson  

A Fan of Nelson Fare

Duration: 05' 00" Year: 2001
fanfare for orchestra

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

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

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Gary Wilby  

A Festive Fare

 Year: 1996
for chamber orchestra

• Instrumentation
  -121, alt sax, 212(bass), perc: tom,triangle, sus cym, strings
• Availability

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Dorothy Ker  

a gentle infinity

Duration: 06' 00" Year: 2009
for full orchestra

• Instrumentation
  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]
• Programme Note

  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

• Availability

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Gary Daverne  

A Jazz Burlesque

Duration: 03' 00" Year: 1992
for string orchestra

• Instrumentation
  optional bass and drum part
• Programme Note

  Originally, A Jazz Burlesque was composed as a piano solo. It was later arranged for accordion trio, then for accordion orchestra. This string arrangement followed for the all female string ensemble ‘String Silhouette’.

• Availability

  • Daverne: A Jazz Burlesque; computer-set 

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  • Gary Daverne: Gallipoli 

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Philip Norman  

A Lion in the Meadow

 Year: 2009
for narrator and orchestra

• Availability

  • Norman: A Lion in the Meadow; computer-set 

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Eric Biddington  

A Little Overture

Duration: 07' 00" Year: 1986
for string orchestra

Eric Biddington  

A Little Serenade

Duration: 04' 00" Year: 1990
for orchestra

• Instrumentation
  2221; 2310; timp; 1 perc(s-dr, tri, glock, cym); strs.

David Hamilton  

A Long Time Ago

Duration: 01' 45" Year: 2006
for concert band

• Instrumentation
  flute and optional piccolo, oboe, clarinet 1, 2 and 3, alto clarinet, bass clarinet; alto saxophone 1 and 2, tenor saxophone, baritone saxophone, trumpet 1 and 2, horn in F, trombone, baritone, tuba, bass; percussion
• Programme Note

  This arrangement is based on a previous arrangement of the piece, which I had made for various combination. It was made for my ex-colleague Mary Siew and her band at Shanghai American School, prior to a planned visit there in early 2007.

  New Zealand is too young a country to have a true ‘folk’ tradition and much traditional folk music is really variats of earlier British songs, often with local names and places substituted for the originals. In this piece it deals with the seas and the lives of sailors.

  My source for some of the folk song arrangements I’ve made is Neil Colquhoun’s collection Songs of a Young Country: New Zealand Folksongs published over thirty years ago.

  David Hamilton

• Availability

  • Hamilton: Three Folk Songs of the Sea; computer-set 

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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

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

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Lyell Cresswell  

A Modern Ecstasy

Duration: 45' 00" Year: 1986
for baritone, mezzo soloists and orchestra

• Instrumentation
  2222 (with doublings); 4331; 2perc, timp; strs.
• Programme Note

  This orchestral work with mezzo-soprano and baritone soloists was commissioned anonymously for the BBC Scottish Symphony Orchestra and is inspired by “Macbeth” Act IV Sc III. The text is by Patrick McGuire and the work is in seven movements.

• Availability

  • Cresswell: A Modern Ecstasy; facsimile 

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  • Lyell Cresswell: Orchestral Music -1  Year: 1991 

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