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Dance music for violin, piano, squeezebox and percussion

It can be performed live as well, in part or in its entirety, though some effects are better achieved through the recording. The work is in nine sections which run continuously.

This work was composed for violinist Paula Smart and pianist Terence Dennis, who first recorded the work in March 1999.

• Anthony Ritchie: CONCERTINA  Year: 2012 

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A suite in seven movements, the first and last of which (for piano solo) act as a prologue and epilogue to the main part of the work. The genesis of the piece is the chord progression outlined by the piano in the first movement, accompanied by uneasy chromatic lines in the bass register; these elements are explored in various ways in subsequent movements. There are optional parts for small bell (movement 3) and gongs (movement 5). The lyrical qualities expressed in the work’s title come most to the fore in the sixth movement, a cantabile melody in the violin heard over descending sostenuto progressions in the piano. In the third movement the left hand of the piano is taken from Stockhausen’s 1951 composition Spiel.

Composed for the opening of the new School of Music Building, Victoria University of Wellington, in 1989, and performed on this occasion by Gavin Saunders (violin), Ross Carey (piano) and Gareth Farr (percussion).

• Carey: Lyric Suite; facsimile 

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• Carey: Lyric Suite; facsimile 

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Curnow requested this work from Lilburn in 1952 for a poetry reading at Auckland University College. The event took place on the evening of 9 August that year, and involved a substantial amount of poetry (twenty-two poems in total) read by the poets involved. (Actually the works of eight poets were represented: Baxter read “Canto at Twenty-seven” by Louis Johnson).

Lilburn’s music was premiered by Antonia Braidwood (violin) and Donald Bowick (piano). One movement was supposed to precede each reading, providing the audience with the composer’s musical impressions of the work and personality of each poet. In the event, however, the order was reversed, which led to some confusion for the audience and some displeasure for the composer. Typical of New Zealand composition of the time, there was no fee to be had for the work. Lilburn even had to pay his way to Auckland for the rehearsals. On his return to Wellington, Lilburn shelved and forgot about the work. It was not until a chance meeting at his doctor’s surgery in 1988/89 that he was reminded of its existence by Lady Dorothea Turner, who had reviewed the first performance. At that point Lilburn contacted the violinist Dean Major to ask if he would be interested in performing it. After some negotiation the composer also determined that he would write a narration to go along with the music in lieu of the twenty-two poems, and (most surprisingly) volunteered to read this himself.

Salutes to Seven Poets was recorded by Concert FM on 5 September 1989, by Major (violin), with Rae de Lisle (piano). As if to make up for thirty-eight years of neglect of the work, this recording received a Mobil Award in 1990.

(Note by Nancy November).

• Lilburn: Salutes to Seven Poets; computer-set 

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• Waiteata Collection of New Zealand Music Vol. 9 - Douglas Lilburn: Salutes to Poets  Year: 2006 

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• Douglas Lilburn: Violin and Piano Works  Year: 2011 

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This sonata was written for an accomplished amateur violinist and pianist.

1st Movement: Begins with a smooth flowing melody over a restless accompaniment. A contrasting second theme is rather more active for the violinist. A third lyrical tune with its development is followed by a development of the second theme. The movement closes with the opening theme.

2nd Movement: A gentle opening is followed by a skittish theme which moves into a very strict march. this finally dissolves back to the gentle opening.

3rd Movement: A lively movement with a number of semiquaver, quaver figures, which eventually tune into quasi ‘circus music.’

4th Movement: This movement opens with a repeated note figure followed by a chirpy second subject. This is extended into a short development before a dramatic return to the repeated note theme, and ending with a final flourish!

• Graham Parsons: Sonata for Violin and Piano - hardcopy score and part 

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• Graham Parsons: Sonata for Violin and Piano - downloadable PDF 

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• Ritchie A.: Violin Sonata; facsimile 

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• Ritchie A.: Violin Sonata; facsimile 

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