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Percussion: drumkit; mobile instruments; furniture; clothing (full details in score)

• Palmer: Blood Shower; computer-set 

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• Palmer: Blood Shower; computer-set 

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• Palmer: Selected Works I 

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I became inspired to write this piece by a rather disparate selection of influences: the Golden Years permanent exhibit at the Te Papa Tongarewa museum in Wellington, Giacometti’s Women of Venice sculptures, and a photocopy of an old poster from the early 1900s.

I had been aware of Giacometti’s striking sculptures of emaciated figures, but hadn’t seen them in the flesh until the beginning of this year at an exhibition in Christchurch. I was particularly enamoured with Women of Venice, an apparently loosely arranged group of stationary female figures all facing straight ahead in a mesmerising and somewhat disarming display of trance-like fixed focus. I imagined a similar group of performers stationed about the stage like petrified soldiers risen from a swamp, who then come to life at random and begin to channel voices from their pasts. This idea of channelling voices was also inspired by the Golden Years exhibit, where museum patrons are lead into an old junk shop that has closed down for the day, only to find items in the shop seemingly coming to life in a display of a potted history of New Zealand.

I then came across a copy of Henry Wright’s infamous poster from the early 1900s cautioning women to abandon exercising any political assertions whatsoever. The poster read:

Notice to EPICENE WOMEN
Electioneering Women are requested not to call here

They are recommended to go home, to look after their children, cook their husbands’ dinners, empty the slops, and generally attend to the domestic affairs for which nature intended them.

By taking this advice they will gain the respect of all right-minded people – an end not to be attained by unsexing themselves and meddling in masculine concerns of which they are profoundly ignorant.

Henry Wright,
103 Mein Street,
Wellington

I found the poster amusing in its ridiculousness, and played with the words so as to make nonsense of them, or to blatantly give them a feminist angle. Here is an example of one of the tweaked versions:

Notice to Sloppy Children
Affairs of sloppy husbands are requested not to attend Wellington.

They are recommended to unsex their meddling masculine nature and generally concern themselves in their profoundly ignorant nature.

By taking this advice they will slop their children’s dinners by unsexing themselves – an end not to be attained by cooking their children or Henry Wright.

I also used John Cage’s method of ‘reading though’ the text using a mesostic with the words “EPICENE WOMEN”, as he did with James Joyce’s Finnegan’s “Wake” in his Roaratorio: an Irish Circus on Finnegan’s Wake (but using the name JAMES JOYCE).

Despite my amusement, I was struck by the use of the word “epicene” in the poster. It implied that women who involved themselves in politics must not really be women, renouncing their sexuality so as to cause infinite trouble with all the devilish potency of a coven of Lady Macbeths. Similar attitudes still exist today, particularly amongst women, and there is still an apparent suspicion of ‘tomboys’ as well as a tug of war between traditionalism and feminism within individuals. It is this ironic fact that interests me the most – that, despite the extraordinary amounts of courage and hard work from women of the past to be seen as equals with men, many women today unwittingly foster oppression by adhering to gender steriotypes.

In this piece I’ve played with aspects of bitchiness, misogyny, sadness, political fieriness, the natural unaffectedness of growing up rurally, the silliness yet appeal of TV commercials, the comfort of crackly old radio songs, and the determination and single-mindedness of women intent on having their voices heard. I’ve also been interested in the potential for double meanings by setting the texts in certain ways, an example being Helen Clarke’s statement about the struggles of her early parliamentary days being sung by the baritone voice. I consider this a rejection of the notion that all people must tidily fit into the category of male or female and therefore must at all times show undeniable evidence either way.

Claire Scholes

• Scholes, C.: Epicene Women; computer-set 

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• Scholes, C: Epicene Women; computer-set 

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• NZ Premieres 2008 Vol. 3 

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flute, alto flute/C flute, clarinet in B flat/bass clarinet

• Powell: Nothing but Switzerland and Lemonade; facsimile 

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• Powell: Nothing but Switzerland and Lemonade; computer-set 

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• Phil Dadson: Peace Rites 

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Percussion: Kempul, timpani, cymbals (2), rototoms (8), tomtoms (4). Involves speech and dramatic movement

• Palmer: Self; facsimile 

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2 fl, 2 ob (2nd doubling c.a.), 2 cl, bsn, cbsn 4 hn, 3 tpt, 2 tbn, b.tbn, tba timp, 2 perc (Triangle, Mark Tree, Large Metal Oil Barrel, Clash Cymbals, Wooden Floor, Sleigh Bells, Suspended Cymbal, Snare Drum, Bass Drum) harp, strings

Walter Bolton was the last man executed for murder in New Zealand, hanged at Mt Eden Prison on 18 February 1957. He was convicted of poisoning his wife Beatrice with arsenic on their Whanganui farm.

The story of his trial, questionable guilt and subsequent execution continues to raise many questions. Is it right to take a person’s life in exchange for another? What if society’s judgement was wrong? Would our society have made the same judgement today?

But even more compelling than these moral questions is why a man like Walter Bolton would have been driven to murder in the first place. The prosecution contended that he had deliberately put sheep dip in her food; however arsenic was also found in the farm’s water supply – probably because it had leeched in from the normal daily use of that same sheep dip. The clincher for the jury’s guilty verdict was Walter’s admission that he had been having an affair with his sister-in-law, Florence – salacious but ultimately only circumstantial evidence. The decision to execute him was rushed: the trial took place shortly before Christmas 1956 and the judge and jury would have felt pressed to make it home to their families. Up until his death, Walter continued to maintain his innocence. Florence, a spinster, committed suicide soon after his execution and was rumoured to have left a note admitting to the killing.

This combination of our script and music is a fictionalised interpretation of these historical circumstances. We have put Walter Bolton in his Mt Eden Prison cell in the early dawn hours before his execution. His mind wanders to his deceased wife Beatrice, his lover Florence, and the grotesque pantomime of the judicial system as he saw it. In The Lover’s Knot, he awaits the hangman’s noose.

• Ellis: The Lover's Knot; computer-set 

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• Ellis: The Lover's Knot; computer-set 

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• Ellis: The Lover's Knot; computer-set 

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• Ellis: The Lover's Knot; computer-set 

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• The APO Composers' Workshop 2010 

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electroacoustic tape, proj video, mobile video, slides, with music theatre elements

Gu Cheng, the exiled Chinese poet whose poetry and person form the basis of 3 Poems, lived on a small island in Auckland’s Hauraki Gulf. The video images are of Gu Cheng and his poet wife Xie Ye on Waiheke Island, animations of Gu Cheng’s disturbingly whimsical drawings and the poem’s Chinese text. The tape uses diverse sounds and music – cooking oil, a Russian folksong sung in Chinese by the couple and – potatoes!

• Palmer: Three Poems from the Bulin File; facsimile 

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• Palmer: Three Poems From the Bulin File  Year: 1990 

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2 pianos, horn, bugle, chamber organ, and percussion (thundersheet, snare drum, bass drum)

• Schulz: Transmigration - Reincarnation of a Nightmare; facsimile 

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• Schulz: 'Transmigration - Reincarnation of a Nightmare'; facsimile 

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2*222; 2221; harp; timp.; perc. (glock., snare drum, bass drum, triangle, thundersheet); strings

• Schulz: Transmigration - Reincarnation of a Nightmare; facsimile 

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• Schulz: 'Transmigration - Reincarnation of a Nightmare'; facsimile 

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flute, oboe, clarinet (2); horn (2), trumpet (2), trombone, tuba; percussion (2), piano; violin (2), viola

This music was written as incidental music to Robert Bolt’s play of the same name.