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Peter Scholes (composer)  

3 4 F [PVC]

Duration: 14' 00" Year: 1989
for a large group of clarinet players

Dorothy Ker  

[...and...1]

Duration: 13' 00" Year: 2003
for clarinet in A

  • Programme Note

    This piece was composed in close collaboration with Andrew Sparling whose facility in using quarter-tone fingerings made it possible to experiment with these to produce music which exploits their timbral and colouristic qualities. It was stimulated by a return visit, following a seven-year absence, to New Zealand in 2002. Imagery of the sea is strong within its musical/poetic discourse and the piece is broadly structured over a cycle of seven ‘intensity waves’. The title is shared by an earlier work […and… 11] for 12 players (composed for Lontano in 2002). The link between these contrasting works is the morphology of the wave, encapsulated as a sonic envelope of aspirate (a) – resonant (n) – explosive (d), along with the extremes of space that are characterised in the music by extreme contrasts in dynamic, register and motion. Sparling has performed and recorded the piece in a number of different realisations. In April it was performed by Australian player Richard Haynes at the TURA International Festival in Perth and broadcast by ABC.

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Yvette Audain  

A Charleston Kick With Steel Caps

Duration: 06' 00" Year: 2011
for saxophone quartet

Neville Hall  

a furred tail upon nothingness

Duration: 07' 00" Year: 2008
for solo oboe

Bryony Jagger  

A Nursery of Pain

Duration: 15' 00" Year: 1989
for solo treble recorder (with optional spoken voice )

Philip Norman  

A Short Suite

Duration: 10' 00" Year: 1994
for saxophone quartet

Ben Hoadley (Composer)  

After a while only the green of the grass is left

Duration: 05' 00" Year: 2007, r. 2009
for solo flute

  • Programme Note

    This short work for solo flute was written in 2007 and is dedicated to my Grandmother, Mary Kingma (1917 – 2005). It was inspired by (but is not necessarily a direct depiction of) part of a poem that she wrote (published by New Zealand Art Press in the anthology New Beginnings in 1986), the last line of which I have used as the title.

    They are waiting for me, the sparrows.
    And so I throw the crumbs and watch.
    So busy, so quick, so hungry.
    After a while only the green of the grass is left.

    Ben Hoadley

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Lyell Cresswell  

Anake

Duration: 13' 00" Year: 1998
for solo flute

  • Programme Note

    ‘Anake’ – Maori for alone – is a set of three pieces. The first contrasts fragmentary ideas with slower wide-ranging melodic lines. These ideas are extended into a shimmering virtuosic diversion in the second piece, and the third turns the slower music into a desolate lament. This third piece was written with a line from Federico Garcia Lorca’s lament for the bullfighter Ignacio Sanchez Mejias in mind: ‘Bones and flutes sound in his ears’.

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Peter Willis  

Anxome

Duration: 04' 10" Year: 2004
for B flat bass clarinet

  • Programme Note

    The title Anxome is a contraction of the word “manxome”, from the phrase in Lewis Carroll’s The Jabberwocky: “long time his manxome foe he sought”. The piece is descriptive of a state of mind: at times anxious and shy, but also playful and cheeky. It was premiered in The Committee’s ‘Lightshift’ concert. Andrew Uren performed it from a high balcony, behind the audience, who were in the dark.

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Dylan Lardelli  

Arrangements

Duration: 08' 00" Year: 2011, r. 2012
for saxophone quartet