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Jenny McLeod  

He Whakaahua o Maru (A Portrait of Maru)

Duration: 30' 00" Year: 2012
a song cycle in Maori for soprano, flute/piccolo and piano

  • Instrumentation
    Soprano, Flute/Piccolo/Poi , Piano/Poi
  • Programme Note

    As young children, some of us see our parents more as gods than as human beings. Time goes by and the feet of clay may start to emerge, with possibly scary or enigmatic aspects. Finally our parents die, maybe somewhat shrivelled, physically and possibly also spiritually. And how do we feel about all this?

    In this brand new song cycle for soprano, flute and piano, we encounter the child’s vividly remembered emotional experiences as the adult protagonist revisits and eventually comes to terms with this.

    The connecting of poetry in Maori on a universal theme of childhood and maturity in a New Zealand context, with its expression via classical art song, here produces the sort of work that might always be expected to arise in a society where cultural expression, cross-connection and interactions are increasingly alive, affectionate, meaningful and robust.

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Christopher Prosser  

Hunting Ground

Duration: 52' 00" Year: 2010, r. 2012
35 short pieces for solo violin

Eve de Castro-Robinson  

LEN LYE the opera

Duration: 1h 55' 00" Year: 2012

  • Programme Note
    LEN LYE the opera is based on the dramatic life of one of our most original artists. As an opera in the contemporary sense, it is a unique mix of music, poetry, theatre, dance, costumes, set design and film, with a cast of top national and international singers, musicians and performing artists. Eve de Castro-Robinson’s lively music incorporates jazz, dance music and other elements that reflect Lye’s art and personality.

    The opera tells the story of one of the most colourful and important artists to have emerged from New Zealand. Born in 1901, Len Lye grew up in this country, moving to London in 1926 to embrace the excitement of modernism and the Jazz Age. In 1944 he moved to New York and lived for the rest of his life in its bohemian art world. He gained a worldwide reputation for his films and sculptures.

    Along with his artistic triumphs, Lye experienced two contrasting marriages and ongoing battles with the art establishment. Despite these battles, Lye never abandoned hope or energy – he continued to struggle, to dream, to re-invent art – and to shock the orthodox with his views about art, clothing, politics and marriage.

    When he died in 1980, Lye left his art to the people of New Zealand. His animated films and kinetic sculptures continue to excite imaginations young and old, here and around the globe.

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Matthew Davidson  

Love or Money

Duration: 1h 15' 00" Year: 2010
a Singspiel in one act and thirteen scenes

Michael Bell  

Mass for the Patronal Feast

Duration: 45' 00" Year: 2011
Latin mass in seven movements

Chris Adams  

River Lavalle

Duration: 1h 00' 00" Year: 2011
A Chamber Opera (six singers, eight instrumentalists incl sound effects operator) presented as a 1940s style radio play detective story with an underlying environmental theme.

Matthew Davidson  

Robert Schumann / Symphony No. 5

Duration: 30' 00" Year: 2011
originally written for quintet for piano & strings (op. 44) in Eb, this arrangement is orchestrated by Matthew de Lacey Davidson for orchestra

Matthew Davidson  

The Singing Lesson

Duration: 1h 30' 00" Year: 2012
a Chamber Opera in Three Acts

  • Instrumentation
    for 2 Lyric Sopranos, 2 Dramatic Mezzo-Sopranos, 1 Lyric Contralto, 1 Tenor Buffo, 1 Basso Buffo, and small chamber orchestra (Cl in Bb, Bsn, Tpt in C, Bs Tbn, vln, cb, and Perc (1-2): wind chimes, triangle, sleigh bells, cowbell, tam-tam, vibraslap, wood block, glockenspiel, xylophone, vibraphone, marimba, tubular bells, snare drum, bass drum, and celesta)
  • Programme Note

    ACT ONE / THE GARDEN PARTY: Synopsis: Laura is helping her mother, Mrs. Sheridan, in the preparations for a garden party, when it is discovered that a death has transpired at a nearby working-class neighbourhood. Laura is in favour of cancelling the party, but other members of her family are not. After the party is over, Laura is instructed by her mother to visit the bereaved family, which results in an enormous personal change – or does it?

    ACT TWO / THE SINGING LESSON: Synopsis: Miss Meadows has been engaged, but now it appears to be over. How will she survive the embarrassment when this fact is discovered at the small school where she teaches? Or will it ever be discovered?

    ACT THREE / THE DOLL’S HOUSE: Synopsis: The arrival of a new doll’s house at the home of Kezia & Isabel creates quite a stir amongst their friends at school. However, Kezia & Isabel’s desire to invite the Kelvey children (who are of a lower social class) to see the new house, causes friction between them and their Aunt Beryl).

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Michael Norris  

TIMEDANCE

Duration: 38' 00" Year: 2012
Live score for dance-film, in collaboration with choreographer/filmmaker Daniel Belton.

  • Instrumentation
    two violins, cello and piano
  • Programme Note

    Time is cut open. Time is dismantled. It is this gateway that we open and close to really observe movement, and to glimpse Spirit. In this work it is the reunion of separated or broken parts that finds fluidity and wholeness. The compass of the dance is given full articulation in this state – we can appreciate the elegance and the mastery of the human form in space.

    Time Dance is in one sense a study of the dancer in action. Sinews of time – this is the algebra. It is not only examining but also restoring – reuniting from fragments of time – these pieces of time are coalescing to make the dance. When the figure pauses, the cascading echoes created through dance catch up with it. These are the monuments. When we catch up with ourselves we create a harmonic in space time. It is another way of celebrating being human. In the work we observe the relationship and sense of belonging to our home planet, Earth. This is geological, and thalassic – like a great cloak of emotion, the geometric grids and moving point maps are energetic prints containing our stories, our journeys, our pain, fear, beauty, love and joys. They are rippling beyond time, across time with the emotional frequencies that make up what it is to be human. This is also a dance. Time will quiver. I want to magnify silence and distort stillness. The geometry is a field of consciousness. Ultimately our physical bodies are the products of wave actions. The shadow is going into a wave space – and that alters the way we see everything.

    Source: http://www.michaelnorris.info

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