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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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This short cycle examines the differences between northern and southern hemisphere experiences of Christmas. These differences are encapsulated in Margaret Mahy’s early poem Christmas in New Zealand which contrasts the colours of a summertime Christmas with the images of snow and robins on Christmas cards. The second piece sets a Christina Rossetti poem which suggests that Christ’s birth was early in the day watched only by the angels and the animals. The third piece sets a traditional text which describes the typical landscapes of a northern hemisphere Christmas – the bare tress and the animals foraging for food. The fourth movement is a piece for band alone, which picks up on elements of the opening movement as well as varied treatment of fragments from the well-known carol “Good King Wenceslas”. The final piece sets a widely anthologized poem of unknown authorship. It humorously returns us to a summertime Christmas where there‘s no snow, and where Santa might end up with a suntan in the “Pacific summertime” Christmas.

Christmas Here and There was commissioned by South Auckland Choral Society for the choir’s end of year concert 2011.

• Hamilton: Christmas Here and There; computer set 

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3333; 4331; timp.; 3 perc.; harp; springs.

This piece has essentially become a journey – a journey to nowhere in particular, but one that is filled with a lot of variation along the way. The title for the piece is a sentence composed by Noam Chomsky to be grammatically correct but semantically nonsensical. This sentence seemed interesting as a title because the more one ponders its meaning, the more your own sense and context for it begins to develop.

The inspiration for this piece came from a number of different places: Taking both Toru Takemitsu and John Adams as musical precedents, this piece draws from their compositional aesthetics (with particular focus on repetition of rhythm and gesture); and tries to synthesize that with further influence from jazz music, electronic dance music and film scoring techniques to create a new hybrid form. The structure of the piece is very strongly influenced by the techniques of film editing, rather than more traditional orchestral forms. So instead of a measured progressive development of ideas, the goal was to create something that is very sectional and ‘choppy’.

In composing this piece the aim was to take both the role of the ‘traditional composer’ and the modern pop ‘producer/composer’ and combine these compositional approaches – Developing musical fragments by approximating digital studio effects and editing techniques on acoustic instruments through traditional notation.

This piece was written as part of the composers PhD composition portfolio that is exploring the possibilities of cross-genre hybridity in musical composition.

• Jeremy Mayall: colorless green ideas sleep furiously - hardcopy score 

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33*3*3*, 4331, timp, 2-3 perc, piano, harp, strings

A meditation on the brevity of life and the nature of loss, Concerto for Orchestra is one of very few of Samuel Gray’s works not to feature overtly political content. The unconventional, prominent use of the musicians’ voices in addition to their instrumental performances nevertheless marks the Concerto as characteristically Gray.

• Gray: Concerto for Orchestra; computer set 

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• Gray: Concerto for Orchestra; computer set 

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• Gray: Concerto for Orchestra; midi recording 

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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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3 flutes, 3 clarinets, 2 alto saxophones, 2 tenor saxophones, 3 trumpets, 2 trombones, euphonium, tuba, violoncello (optional), string bass, timpani, percussion I (high conga, low conga, medium tom, low tom), percussion II (high bongo, low bongo, high tom, medium tom), percussion III (tambourine, high woodblock, low woodblock), percussion IV (suspended cymbal, wind chimes, triangle) and percussion V - xylophone (medium sticks), with piano and SATB choir

Based on the simple idea: “If Lake Taupo was a piece of music, what would it sound like?”

This mass musical work, commissioned especially for the ERUPT Lake Taupo Festival 2010 through the SOUNZ Community Commission, takes its inspiration from the people and places of Taupo.

Featuring lyrics submitted by local writers, Moana Ataahua is a spectacular mix of symphonic, choral and percussive elements that erupts into an exciting finale.

• Youens: Moana Ataahua; computer-set 

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• Youens: Moana Ataahua; computer-set 

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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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A Lute of Jade has seven movements and is suggested by the composer that the last three movements should run into each other in segue fashion. This quartet is based on the Songs of Mystic Jade.

• Dixon: String Quartet No. 4 - A Lute of Jade; computer set 

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