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Dorothy Buchanan  

Carnival of New Zealand Creatures

Duration: 20' 00" Year: 1999
for narrator, singer, flute, clarinet, cello, guitar, percussion

Anthony Ritchie  

Portrait of FH

Duration: 28' 00" Year: 2009
for orchestra with optional narrator part

  • Instrumentation
    2222;2220;2perc, timp, piano; strings with optional narrator part for texts to be spoken between movements of the music
  • Programme Note

    Portrait of FH was commissioned by The Southern Sinfonia and written as part of a presentation about the life of great NZ artist, Frances Hodgkins. It reflects on aspects of the artist’s life, ranging from her early days in NZ in the late 19th century through to the ‘flowering of her career’ in the 1940s, when she was one of the leading modernist painters of her generation.

    The work opens with the Frances doodling at the piano (an instrument she played), improvising a theme, which then gets woven into the fabric of the piece. The orchestra enters with a flourish, and both the Prelude and ‘Water- colours’ are optimistic and lively in tone.

    In ‘Water-colours’ I took as a cue Frances’ statement “I made the paint dance,” and a waltz feel pervades the piece. ‘Oils’, by contrast, is somber in tone, with a sense of loneliness and also reflects the hardships of war. ‘Gouaches’ is strange and colourful in sound, and becomes heroic in tone towards the end, before an unresolved ending, in which the piano returns again.

    All movements are connected by the use of a musical motif, F-B which, when using the traditional German note names, spell F-H. This motif, representing Frances, also relates to the whimsical, poignant self-portraits she painted.

    This work was the brainchild of art collector and curator Marshall Seifert, and it is to Marshall that I dedicate the music.

  • Availability

Douglas Lilburn  

Salutes to Seven Poets

Duration: 29' 00" Year: 1952
for violin, piano, and narrator

  • Programme Note

    Curnow requested this work from Lilburn in 1952 for a poetry reading at Auckland University College. The event took place on the evening of 9 August that year, and involved a substantial amount of poetry (twenty-two poems in total) read by the poets involved. (Actually the works of eight poets were represented: Baxter read “Canto at Twenty-seven” by Louis Johnson).

    Lilburn’s music was premiered by Antonia Braidwood (violin) and Donald Bowick (piano). One movement was supposed to precede each reading, providing the audience with the composer’s musical impressions of the work and personality of each poet. In the event, however, the order was reversed, which led to some confusion for the audience and some displeasure for the composer. Typical of New Zealand composition of the time, there was no fee to be had for the work. Lilburn even had to pay his way to Auckland for the rehearsals. On his return to Wellington, Lilburn shelved and forgot about the work. It was not until a chance meeting at his doctor’s surgery in 1988/89 that he was reminded of its existence by Lady Dorothea Turner, who had reviewed the first performance. At that point Lilburn contacted the violinist Dean Major to ask if he would be interested in performing it. After some negotiation the composer also determined that he would write a narration to go along with the music in lieu of the twenty-two poems, and (most surprisingly) volunteered to read this himself.

    Salutes to Seven Poets was recorded by Concert FM on 5 September 1989, by Major (violin), with Rae de Lisle (piano). As if to make up for thirty-eight years of neglect of the work, this recording received a Mobil Award in 1990.

    (Note by Nancy November).

  • Availability

Philip Norman  

The Castaway Sailor

Duration: 25' 00" Year: 1998
for narrator and orchestra

Jenny McLeod  

The Emperor and the Nightingale

Duration: 23' 00" Year: 1985, r. 2010
for narrator and orchestra

Gillian Whitehead  

Wulf

Duration: 20' 00" Year: 1976
for female reciter, flute, clarinet, violin, cello, piano and percussion