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piccolo, alto flute/flute, 2 oboes, clarinet in Bb, bass clarinet, 2 bassoons, harp, vibraphone, strings.

The worship of the Celtic Goddess Sulis and the Roman Goddess Minerva gave rise to the cult of Sul-Minerva at the ancient springs situated in Southwest England. A visit to the site summons up a variety of underground imaginings – dark, steaming pools, slowly dripping water and faster running streams, ancient supplications, sacrifice, curses and prayers, fertility and healing.

• Leonie Holmes: Aquae Sulis - hire set 

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• Leonie Holmes: Aquae Sulis - downloadable PDF 

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• Leonie Holmes: Aquae Sulis - hardcopy score 

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for bass clarinet in Bb, alto flute
percussion — kick-drum, snare drum, low tom-tom, low woodblock, high woodblock, medium cowbell (muted), hi-hat, high ride cymbal, medium splash cymbal, thin metal sheet, cabasa, rainstick, tibetan bowl (F if possible), vibraphone, marimba;
narrator — amplified with microphone and/or paper megaphone and power megaphone;
piano (nylon fishing line rosined), violin and violoncello

“In the beginning, there was nothing. Just the water.”
“But where did all the water come from?”

Throughout Thomas King’s novel the character of the trickster Coyote reappears, hopelessly bamboozled, trying to learn what really happened when the world began. Who knows the Real Story? Coyote would like to think he does, but then there’s Coyote’s Dream – “gets loose and runs around. Makes a lot of noise”. Coyote’s Dream has his own idea about things: “I’m in charge of the world”. By the end of the piece, you’ll be wondering where all that water came from…

• Palmer: How it Happened; computer set 

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• Palmer: How it Happened; computer set 

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• Palmer: How it Happened; computer set 

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• Juliet Palmer: How it Happened 

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2222,2211,2 perc, harp, strings; solo viola

In this work, the first movement uses two Basque melodies (one of which is a Basque lullaby whose text contains only Basque nonsense words) for the first group and a “Bulgarianized” version of a Hungarian folk melody for the second in this short sonata form. The second movement is an arrangement of a 14th century melody by Guillaume de Machault, and the last owes something to Scandinavian folk music (the obscure title refers to a favorite Finnish dill-infused salad dressing that I like to make on occasion).

Matthew Davidson

• Davidson: Music for Viola and Orchestra 

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• Davidson: Music for Viola and Orchestra; computer-set 

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• Davidson: Music for Viola and Orchestra; computer-set 

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• Matthew Davidson: Music for Viola and Orchestra; computer-set 

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solo piano

The name of a place opens, at a word, a world rich with images and associations; a world of landscapes, seasons, lives of the people who have lived there, births, deaths, celebrations and hardships. Travelling through the north of Scotland in search of the crofter villages that my grandparents’ families had left I found weathered stones where the villages had stood. Sometimes I found nothing – just a name on an old map.

These six short pieces for solo piano were written with those lost villages in mind, no longer visible by day, but living on in the name, in the night, and in the lives of the diaspora.

Each work is constructed from distinct and different melodic, harmonic and rhythmic elements. However the sound world for all six is drawn from my remembered images of granite, steep hillsides, rushing water, wild flowers, wind-bent trees, and above all, the lives lived within the villages.

• Webster: Nameless by day; computer set 

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• Webster: Nameless by day; computer set 

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• 5 Works by M Louise Webster 

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Stradivariazioni is a theme and variations, with each variation cast in the form of a character piece. Instead of a single theme, three themes—or “ciphers”—are presented in the ‘Tema (con amici)’ (Theme (with friends)). A musical cipher translates letters of the alphabet into musical notes which are then represented as melodies (or harmonies). The B–A–C–H cipher (Bb, A, C and B-natural in German usage) first used by Bach himself, is perhaps the most famous. The three ciphers in Stradivariazioni are derived from the surnames of those who inspired the piece: Antonio Stradivari, Martin Riseley and Diedre Irons. Throughout the work the ciphers are manipulated and appear in varying permutations. Though not always immediately recognisable, the assorted combinations of the ciphers provide a sense of coherence and intimate relationship between the five variations.

The individual variations encompass the names of actual Stradivarius violins which are still in existence today. In each variation I have attempted to capture the essence of either the physical attributes (the colour of the varnish, individual details of scrollwork and sound quality, for example) or the given name and historical background of the violin.

• Stephan Prock: Stradivariazioni - hardcopy score & parts  Year: 2012 

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• Martin Riseley & Diedre Irons: Stradivariazioni  Year: 2011 

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mezzo-soprano, flute/alto flute, clarinet, bass clarinet, vibraphone, piano, harp, violin, viola, cello

“Reality is not what it is. It consists of the many realities which it can be made into.” – Wallace Stevens, “Adagia”

Performance notes
This work is presented here as an abstract concert-piece, however it could equally be performed in a fully staged version with make-up, costuming, lighting, choreography etc. Suggestions for this might be found in Ligeti’s opera Le Grande Macabre or Schoenberg’s Pierrot Lunaire (for example the eighth blackbird version).

In either concert or staged version, the performers (particularly the singer) should treat the material theatrically and expressionistically, with an exaggerated scope of emotions and a heightened sense of the bizarre.

• Taylor: study of two pears; computer set 

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• Taylor: study of two pears; computer set 

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Piccolo, Flute, Oboe, Cor Anglais, Bb Clarinet, Bass Clarinet, Bassoon, Contra-bassoon, 4 Horns in F, 3 Trumpets, two Trombones, Bass Trombone, Tuba, Timpani, Vibraphone, Congas, Snare Drum, Harp, Narrator, Strings.

The story of “The Radish and the Shoe” was created by French Canadian artist Louise Jalbert and set to music by Andrew Perkins. Jalbert’s book won the Parents’ Choice Award when it was first published in California in 1984 and has since been republished. The characters, a Radish, a Shoe and a group of Letters, all reside inside a book which they call their home. One day a pair of scissors attacks the book, destroying the characters’ home, leaving them completely despondent. However, they pick themselves up and repair their book, and in the process inadvertently transform their ‘home’ into something more beautiful than before. The story is cleverly analogous with survival in the real world and one that has always rung resonances with the philosophical approach to life Andrew Perkins has always attempted to instill in his students.

• Perkins: The Radish and the Shoe; computer set 

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• Perkins: The Radish and the Shoe; computer set 

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• Andrew Perkins: The Radish and the Shoe 

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for Eb clarinet, two Bb clarinet and a bass clarinet

The title is quoted from Nigel Cox’s novel The Cowboy Dog. In the novel, there is a poetic contrast between the constant presence of the landscape, and an elongated sense of time and space, set against the smallness of the concerns of the human characters. The music contains a similar juxtaposition of small detail against a spacious backdrop, and a warping of the listener’s perception of musical time.

The stars like years is dedicated to the New Zealand Clarinet Quartet, and I am especially grateful to the Quartet for their close involvement in the compositional process. There are varying degrees of notational freedom in the score, from very loose rhythmic specification, to sections which are improvised using sets of notated gestural materials. The music derives much of its energy from the tension between spontaneous performance and the written-out structural framework.

The stars like years was commissioned for the New Zealand Clarinet Quartet, with funding from Creative New Zealand.

• Brownlee: The stars like years; computer set 

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• Brownlee: The stars like years; computer set 

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• Philip Brownlee: The stars like years; audio 

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TRIO SONATA for flute, viola, and harp is a four-movement work which combines polytonality and classical music structures with the following “non-western” melodies in the following movements : (i) “Aš pasejau linelius” (transcribed from the compact disc, Lituanie – le pays des chansons, Ocora-Radio France); “Carry Me Back to Old Virginny” (James Bland); (ii) Menuet melody by Antonio Sacchini; (ii) theme from the second movement of the “Emperor” string quartet by Joseph Haydn; and (iv) “Shto mi e Milo” – a traditional Macedonian folk melody.

• Matthew Davidson: Trio Sonata - downloadable PDF 

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• Matthew Davidson: Trio Sonata - hardcopy score & parts 

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• Matthew Davidson: Trio Sonata - MIDI realisation 

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