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Susan Frykberg  

Astonishing sense of being taken over by something far greater than me

 Year: 1996
for violin(s) and tape

Jonathan Besser  

Caucasian Blood

 Year: 1986
for violin and piano

Christopher Prosser   Jonathan Besser  

City Raga

 Year: 1986
for violin and piano

John Rimmer  

Composition 8

Duration: 16' 00" Year: 1974
for violin and electronic sounds

Christopher Prosser   Jonathan Besser  

Dark Wind

Duration: 45' 00" Year: 1985
for violin and piano

Rachel Clement  

Ellipsis

Duration: 01' 00"
for any instrument in range

Christopher Prosser  

Four Meditations

Duration: 43' 33" Year: 1991
scordatura violin and Indian tanpura

Ivan Zagni  

Going to the Movies

 Year: 1984
graphic score for unspecified one line instrument

Christopher Prosser  

Hunting Ground

Duration: 52' 00" Year: 2010, r. 2012
35 short pieces for solo violin

Douglas Lilburn  

Incidental Music to Shakespeare's Othello

 Year: 1944
for violin, piano and narrator

  • Programme Note

    Lilburn wrote these seven musical interludes in quasi-Elizabethan style; nonetheless one can still clearly detect his own compositional voice. The most extended music is that for the Willow Song, which in Shakespeare’s Othello is sung by Desdemona to her maid Emilia on the eve of the heroine’s death. Lilburn knew well how to handle the style of the melancholy vocal lament, translating the repeated ‘willow, willow…’ refrains of the original song into repeated skips of a falling third, and using the violin’s mid-low register. Broken chord accompaniment in the piano imitates the sound of a strummed lute. Lilburn Willow Song was heard together with the premier of two settings of R.A.K. Mason’s poems, Song Thinking of Her Dead, and O Fons Bandusiae in a 3YA broadcast on 29 November 1946. It was first performed two years earlier, though, as part of a production of Othello given by the Canterbury University College Drama Society, directed by Ngaio Marsh.

    Lilburn Collaborated with Ngaio Marsh in five Shakespeare production sin the early 1940s; Othello was the second. Just as Marsh regarded his musical input highly, so Lilburn considered her to be an outstanding producer: "She had more understanding of Shakespeare than anyone else I have ever met’, he observed, ‘and an exquisite ear for the music and cadences of his verse’. The first two Shakespearian productions by this able team, of Hamlet and Othello, were a great success, so much so that the Drama Society toured with them to Dunedin, Wellington and Auckland.

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