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Eve de Castro-Robinson  

A Resonance of Emerald

Duration: 15' 00" Year: 1988, r. 1990
for mixed chamber ensemble

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John Drummond  

Celebration

Duration: 17' 00" Year: 1988
for SATB choir, 3 trumpets, 3 trombones and organ

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Kit Powell  

Chinese Songs

Duration: 16' 00" Year: 1988
for high soprano and tape

  • Programme Note

    First performed in a concert of the Swiss Computer Music Center with soloist Franziska Staeheli. Later performances in Bern (with a short lecture about it by me) and in Schaffhausen. Bruno Spoerri also played the tape abroad, in a demonstration of our work here.

    Preparation for the work involved analysis of several Chinese instruments; Ch’in (a zither), gong and wood block. The wave analysis was done with a computer program and my imitations were realized on the Computer Music Center’s DMX. There are two sets of texts: from the Tao Te Ching (Lao Tse) and from the I Ching. The Lao Tse texts were chosen by me and set with traditional notation. The I Ching texts were chosen by chance (with the computer) and set with a computer generated graphic notation. Proportions within the piece were also made with a computer program using chance and units of Golden Section. (More details in the introduction to the score).

    This piece could be performed with two singers: one singing the Tao texts, the other singing the I Ching texts.

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Bill Barclay  

Circular Concerto

Duration: 15' 00" Year: 1988
for string quartet

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Christopher Blake  

Clairmont Triptych

Duration: 15' 00" Year: 1988
for wind quintet and piano

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  • Instrumentation
    flute, oboe, clarinet, horn, bassoon and piano
  • Programme Note

    Clairmont Triptych was written in fulfilment of a commission by Chamber Music New Zealand for the Auckland Wind Quintet with pianist David Guerin to perform on a New Zealand tour in 1988.

    The music derives its inspiration and impetus from the work of the New Zealand painter Phillip Clairmont (1949 – 1984). He was something of an enfant terrible of the New Zealand art world, living his life and his painting with a reckless passion and energy. His work is vibrant and strong, conveying an intense and energetic power. Aspects of these elements are captured in the music, although it is not programmatic, but connects with paintings through analogy and allusion. Amongst the profusion of themes and ideas there are two prominent recurrent subjects in Clairmont’s work – the domestic interior and the self portrait. These form the thematic base of the first two of the three inter-linked movements of the work. The first movement, Interiors, mirrors the fractured vibrancy of the Clairmont interiors by use of a very fast toccata-like movement in sequences of fluctuating tempo. This creates a continuously “flexing” aural effect which reflects the unsettling quality of the images. The second movement, Self Portraits, uses a recurring three note motif C-B-Bb. These are the composer’s initials (C-H-B in German), thus the self portrait becomes ambiguous. The music seeks to realise to an extent the technique and viewpoint of the self portraits. The third movement, Jimi Rocks, refers to the influence of rock music on Clairmont’s painting, particularly during his studies and the early part of his career in Christchurch. The three movement formal structure is a musical equivalent of the triptych format Clairmont often used in his painting.

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Noel Sanders  

Golem

Duration: 15' 00" Year: 1988
for orchestra

  • Instrumentation
    233(+bs-cl)(+3sax)2(+d-bn);3331;3perc(1. timp,bells, brake drum. 2. 5toms,s-dr,guiro,low bs-dr,low gong,marimba,vibes.3. 5timbales,ten-dr,mid bs-dr,mid gong,vibes,3cym);strs.
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Anthony Ritchie  

Piano Sonata 1988

Duration: 16' 00" Year: 1988
for solo piano

  • Programme Note

    This work is dedicated to the composer’s piano teacher, Rosemary Miller Stott. It is in three contrasting movements. The first, an allegro, is in sonata form, and features nervous, darting ideas which become more animated in the middle section. The second movement opens with a chorale-like theme, expressing feelings of nostalgia. The fidgety middle section builds up more tension, before being combined with the chorale theme. The finale releases the tensions of the earlier movements, and has a happy, sunny character. Initially inspired by a Beethoven sonata, the rondo theme builds up to a big climax before ending quietly.

    Piano Sonata 1988 (opus 29) was written when the composer was Mozart Fellow at the University of Otago.

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John Elmsly  

Septet

Duration: 16' 00" Year: 1988
for oboe, clarinet, violin, cello, piano and 2 percussionists

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Martin Lodge  

Sonatina for Solo Flute/piccolo

Duration: 15' 00" Year: 1988

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  • Programme Note

    A sustained and challenging four movement work for solo instrument, the player switches from standard flute to piccolo for the scherzo-like third movement. Individual movements, especially the haunting second one, are sometimes played on their own, a practice approved by the composer.

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Dorothy Freed  

Sounds and Winds of Wellington

Duration: 15' 00" Year: 1988
pastiche or farce for narrator and chamber ensemble

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