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• Sound Barrier  Year: 2006 

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• Fanfares for a New Millennium  Year: 2000 

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2222;4231;timp,perc(xylo,maracas,tri,ratch, guiro,tamb);strs.

This fanfare for full orchestra was “…refreshing… (Its) gradual thickening of layers of bird calls to abrasive Varesian dissonances near the end had a concise dramatic momentum and coherence.” lan Dando, NZ Listener. (It) “…begins with sounds that could only be New Zealand ones.” LCM Saunders, NZ Herald.

• de Castro-Robinson: Aurora; facsimile 

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• Eve de Castro-Robinson: Aurora 

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• Eve de Castro Robinson: Works 3 

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2222; 2231; timp., perc., strings

• Sinclair: Balfour & Paterson-A Dedication; computer-set 

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• NZ Works for Orchestra 

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• A Musical Six - Instrumental and orchestral works 

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2222; 42211; 3 perc.; 4 cymbals; cl; strings

It is impossible to live in Wellington without paying attention to its environment, or the environment paying attention to you. Equally, it is impossible to leave without carrying an interior imprint of its sharp green hills, scudding clouds, dragon sea, and particularly for me, those days when it suddenly all stops leaving the city suspended between a hush of blue sky and a seemingly frozen harbour. Blue Kisses Green is somehow ‘about’ this elemental ferociousness, delicacy, and beauty.

• Dugal McKinnon: Blue Kisses Green (Mono) 

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• McKinnon: Blue Kisses Green (Stereo) 

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• McKinnon: Blue Kisses Green 

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• McKinnon: Blue Kisses Green; computer-set 

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• McKinnon: Blue Kisses Green; computer-set 

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• McKinnon: Blue Kisses Green; computer-set 

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cryosphere is a world of ice; a world of neutral tones of white and black where little life survives in the extreme cold and, paradoxically, extreme dryness. This work attempts to recreate the feeling and emotions of Antarctica, starting with a massive eruption of sound in the opening two bars, the energy of which subsides slowly into a peaceful world of subtle, pale colour. In Antarctica one feels as if one is experiencing the aftermath of huge disruption, of massive forces, which have come together in awesome strength but have now settled and become (temporarily) covered in a soothing blanket of white. Of course, there is nothing soothing about this blanket – it comprises layer upon layer of ice, continually in a state of flux as the massive ice sheets move under the enormous strain. Antarctica is peaceful and energetic, beautiful and brutal, empty and yet eerily full. This work attempts to draw some of these ideas together and to capture a part of the essence that is the earth’s last true great wilderness. I am indebted to Antarctica New Zealand for the opportunity to travel to Antarctica and gain the inspiration essential for the creation of my work.

Patrick Shepherd

• Shepherd: cryosphere; computer-set 

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• Shepherd: cryosphere; computer-set 

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2222; 4231; 3 perc; hp; strings

• Margetic: Dubina; computer-set 

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• Karlo Margetic: Dubina; audio 

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• NZCT Discovery Concerts 2006 Study Guide CD  Year: 2005 

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3333; 4331; timpani, harp, 3 perc., strings

The state of humankind and the ecology of our planet are inseparably mirrored by each other. Paradoxically, we destroy natural homes to construct our own. What else are we to do? Time and the eco-cycle continue their relentless advance.

Daniel Stabler – 29 July 2002

• Stabler: eccco fantasy for orchestra; computer-set 

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• Stabler: eccco fantasy for orchestra; computer set 

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• NZ Works for Orchestra 

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• Daniel Stabler: eccco fantasy for orchestra 

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piccolo, flute, oboe, cor anglais, clarinet, bass clarinet, bassoon 1 and 2, 3 horns, 3 trumpets, 2 trombones, bass trombone, tuba, timpani, 2 percussionists (crash cymbals, suspended cymbals, roto-toms, claves, rain stick, vibraphone), harp, strings and narrator

“I enjoyed performing and recording Eulogy very much. Such a warmth of texture and harmonies which created a sympathetic palette for Olivia Macassey’s word painting” – Kenneth Young

My decision to set this text for orchestra initially arose, not only from reading the poem and appreciating it for what it is, but also from the recent passing of a dear musician colleague with whom I had collaborated on many early jazz projects.

However, at time of writing, I have become most un-nerved by the senseless loss of young life that has been occurring with alarming regularity at a couple of schools I have recently taught at. It was with these tremendously sad, sudden passings in mind that I completed my work on the piano short score of Eulogy, before commencing work on its orchestration.

Yvette Audain

• Audain: Eulogy; computer-set 

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• Audain: Eulogy; computer-set 

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• Two works by Yvette Audain 

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• The APO Composers' Workshop 2010 

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2222; 4231; timp., perc. 1 (glock., xyl., sus. cym., tri., bongos, tub. bells), perc. 2 (vib.), hp, pno (and celesta); strings

A scene from childhood, remembered as a half peaceful, half eerie dream sequence. Deep in the bush where there were no cicadas singing, the moist smell of soil, a small stream, dark ferns. Occasional streaks of sunlight struck the water. The middle of the ponga fern looked as if it would be a perfect bed to curl up in. I half believed that there were bush-dwelling creatures that did live and sleep there, watching me from the shadows.

• Holmes: Frond; computer-set 

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• Holmes: Frond; computer-set 

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• Premieres 2004, Volume 3 

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• Passing - Asia Pacific Festival 2007  Year: 2009 

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