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Eric Biddington  

A Hutt Suite

 Year: 2009
for oboe, clarinet, four violins, viola and double bass

Christopher Prosser  

Bouncer

Duration: 00' 55" Year: 2004
a short tune for violin and guitar

Stephen Ralph Matthews  

Catena

Duration: 12' 00" Year: 2005, r. 2006
for string quartet

  • Instrumentation
    violin I, violin II, viola and cello
  • Programme Note

    The title is taken from the seventeenth century Latin word Catena meaning a chain, row or series. This abstract is reflected in the composition of the piece; sections of each movement are built from short melodic motives, which once stated, keep recurring.


    The first movement opens with a moment of quiet contemplation before the viola resolutely states the main theme and is followed in canon by each of the other instruments. The second movement is cyclic in structure, comprised of four sections (ABCA); the first is comparatively bright and sunny in mood, the second a quirky dance employing string glissandi, the third builds in intensity, employing clashing harmonies and fast tightly-knit motives and the fourth, a diminished iteration of the first section. The third movement is playful in character and begins with a call and response between all parts before turning into a lively dance in 7/8. The rhythmic interplay between groups of two and three quavers continues until the end of the piece.

Christopher Prosser  

Czeske Krumlov

Duration: 01' 18" Year: 2003
a short tune for violin and guitar

Christopher Prosser  

Dance Suite

Duration: 18' 26" Year: 2005
for flute and violin

Yvette Audain  

Devuelve El Favor (Returning the Favour)

Duration: 02' 30" (can vary) Year: 2009
in a Latin jazz style - any lead instrument(s) and accompanimental instrument (eg. flute and guitar)

Rosie Langabeer  

Elephant

Duration: 02' 47" Year: 2003
a march in 6 for Dali style elephants for 15 players

Juliet Palmer  

Five

Duration: 07' 36" Year: 2008
for 2 pianos and percussion

Keith Statham  

Flora

Duration: 05' 28" Year: 2003
for clarinet, flute or violin, piano

David Hamilton  

Kristallnacht

 Year: 2009
for mixed chamber quintet

  • Instrumentation
    for flute, guitar, piano and 2 percussion
  • Programme Note

    The 70th anniversary of Kristallnacht (literally “Crystal Night” – or the “Night of Broken Glass”) was commemorated in 2008 as I was beginning to think about this work. In early November 1938 Hitler’s troops attached the Jewish people of Germany, already undergoing considerable suffering at hands of the Nazis. Nearly a hundred were killed, and upwards of 30,000 were arrested and deported to concentration camps. More than 200 synagogues and countless businesses were ransacked. Some consider this event the true beginning of the Holocaust.

    Throughout much of this work there is a sense of busy rhythmic energy – the music is marked “with relentless energy”. In the piece I wanted to give the impression of frantic activity, of people running and trying to escape the Nazi troops. Bursting in on the music from time to time are march-like rhythms, usually from the snare drms, trying to control the flow of the piece. Eventually the music gives way to grotesque march idea which leads through to the climax of the piece. In the middle of the work there is a calmer section which is marked “sadly”. The flute plays a lament against gently dissonant chords from the vibraphone and guitar. This music is the most nearly tonal in the whole piece although there is not a single major or minor chord in the entire work (other than the quote from the Jewish anthem)!

    Once the faster music reasserts itself, the music suggests the Jewish people bing overwhelmed by the force of the Nazi troops. Here, the piece incorporates the Israeli national anthem Ha-Tikva to represent those being attached – the guitar plays it softly in the background and it’s presence is only occasionally heard when the violent music surrounding it stops. The guitar’s music is finally overwhelmed and a percussion outburst marks the climax of the piece. Brief reference back to a series of chords heard earlier, and then ideas from the first part of the work, are combined in a brief Coda. The music ends inconclusively. The running continues.

    Kristallnacht was written for students of New Plymouth Boys’ High School.

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