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Annea Lockwood  

Aspects of a Parable

Duration: 20' 00" Year: 1964
For baritone and ten instruments

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Kit Powell  

Clarinet Quintet

Duration: 20' 00" Year: 1962
for clarinet and string quartet

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Kit Powell  

Concerto for Violin and Orchestra

Duration: 20' 00" Year: 1963, r. 1964

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Jenny McLeod  

Epithalamia

Duration: 20' 00" Year: 1962
a song cycle for baritone and piano

Score Sample
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  • Programme Note

    Written in McLeod’s second year of study at Victoria University, this piece shows influences of Benjamin Britten and David Farquhar. The text is a poem by W. S. Broughton, the older brother of one of her childhood friends. She was drawn to the poem because it expressed the disillusionment with religion she herself was experiencing at the time.

    Being a student work, Epithalamia has been somewhat neglected by performers, and has only recently been ‘rediscovered’. The youthful composer’s impressive self-confidence, both in the expressive use of the voice and in the effective piano writing is obvious. (Programme note: Mark Jones).

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Jenny McLeod  

For Seven

Duration: 23' 00" Year: 1966
for flute, clarinet, violin, viola, cello, marimba and vibraphone, piano

Score Sample
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  • Programme Note

    Scored for flute, clarinet, vibraphone/marimba, piano, violin, viola and cello, this piece was written for performance by members of the Stockhausen’s ensemble, including parts designed specifically for Aloys Kontarsky, Siegfried Palm, and Cristoph Caskel, who, at the time, were the world’s leading performers of contemporary music. To the composer it seemed unlikely the work could ever be played in New Zealand, although it is noteworthy that Douglas Lilburn chose this as the first score to publish under his newly founded Waiteata editions imprint, such was his admiration for the composer’s achievement. However, with growing numbers of skilled and committed performers in New Zealand, ‘For Seven’ eventually received its New Zealand premiere in 1992, by the new music ensemble CadeNZa. Since then it has had several other fine performances here, and well as others in Europe. Recognition of the work’s status within our musical canon can be judged from the simultaneous CD publication of two different versions of the work, one by the UK-based ensemble Lontano conducted by Odaline de la Martinez, and another by Stroma. ‘For Seven’ was one of the first pieces to combine elements from the two major European schools of the time – the Eastern European cluster music, and the serialism of Boulez and Stockhausen. The piece consists of various lines of composed accelerandi and ritardandi, determined by a network of simple numerical ratios. These ratios also govern other aspects of the piece, such as the lengths of sections and the pitch intervals used. Combined with the highly structured ‘foreground’ material is more amorphous ‘background’ material (including some improvisatory elements), with frequent interaction between the two. Though the construction of the piece is complex, the result had a natural musicality and flow. McLeod has said that, although she was not conscious of it at the time of composition, she now hears clearly the influence of the sounds of the New Zealand bush. (Programme note: Mark Jones).

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Ronald Tremain  

Four Medieval Lyrics

Duration: 24' 00" Year: 1965
for mezzo-soprano and string trio

  • Programme Note

    Four Medieval Lyrics is a song cycle of settings of 14th and 15th century religious and secular verse. The fusion of old and new, of medieval poetic imagery with 20th century musical language offers rich possibilities. Not only the scholar plunders the past, but the composer too, making that past accessible to our modern sensibility. This poetry is distant enough to be treated with a certain detachment and objectivity; at the same time the lyrics have a delicacy, a freshness a restraint which can still speak to us today.
    (from Words and Music an essay by Ronald Tremain, November 1988)

    The text settings of this work are interspersed with fantasia for the strings; these use both metered and unmetered notation.

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Ashley Heenan  

Jack Winter's Dream

Duration: 24' 00" Year: 1958, r. 1984
nine portraits for orchestra

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John Ritchie  

Lauda Sion Salvatorem

Duration: 20' 00" Year: 1964
for soprano, SATB semi-chorus and chamber ensemble

  • Instrumentation
    2 oboes, 2 clarinets, 2 bassoons, 3 trumpets, 2 horns, 3 trombones, 1 tuba and 1 percussion
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Robert Burch  

Little Suite

Duration: 23' 00" Year: 1964
for four clarinets

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Ronald Tremain  

Murder in the Cathedral

Duration: 20' 00" Year: 1962
incidental music for radio play

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