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This short celebratory piece is based on some of the stylistic qualities of John Elmsly’s and Leonie Holmes’ compositions.

Up to about the “golden section” (just over 3/5 of the piece), the pitch material is based on John’s name and uses some of his favourite intervals. The rest of the piece uses pitches from Leonie’s name and some of her favourite gestures as in the sudden fast rhythmic patterns.

The title is doubly significant. It refers not only to the piece itself with its celebratory ‘fanfares’ or ‘calls’ and their colourful resonances which lead the listener into another soundworld but also to the outstanding personal qualities of these two composers. Like most university staff, John and Leonie work industriously beyond the call of duty.

After listening to the 2012 CD of the Karlheinz Company, I realised that in my coloured resonances I had subconsciously used a similar technique found in John Elmsly’s striking work “Ritual Auras”. Such is the nature of serendipity.

• Rimmer: Beyond the Call; computer set 

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• Rimmer: Beyond the Call; computer set 

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• Norman: Birthday Music; computer-set 

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• Hermione Johnson: Body and Soul; video 

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Bout is inspired by the sport of women’s boxing. In an interview with Canadian boxing pioneer Savoy “Kapow” Howe, I was struck by her detailed demonstration of the inner monologue of a fighter. Melodic and rhythmic material from her words insinuate themselves into the piece, along with referee’s whistles, counts and bells, training routines and the dogged persistence of the fighter.

Bout: A round at fighting; a contest, match, trial of strength, physical or intellectual.

• Palmer: Bout; computer set 

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• Palmer: Bout; computer set  

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• Palmer: Bout; computer set 

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• Juliet Palmer: Bout 

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burlesques mécaniques is a rather extroverted collection of grotesque miniatures whose characters are not people or animals but dances. These dances have been mechanised, electrified, and often obscured by their own rhythmic impulse. Old forms and formulaic tropes are given new identities, freed from the confines of metric stability and the expectation that they be “danceable”. The essentially mechanical, artificial aspect of music (and of art in general?) is embodied in the piano, here a brittle, seedy protagonist whose string limbs hover and flail about it. Conflicting rhythms dominate the surface, oscillating between insistent repetition and mad, angular flourishes. The generally jerky, muscular rhythmic material is periodically frozen throughout the work, most strikingly in the ninth movement (chain). Here a string of rich, impressionistic chords briefly reveals an alternative, interior world which is then rudely dismissed in an almost haphazard finale.

• Taylor: burlesques mécaniques; computer set 

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• Taylor: burlesques mécaniques; computer set 

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One afternoon Margaret Medlyn and I sat across her kitchen table to discuss poems I might set as the basis of a song cycle for her. She produced quite a stack of New Zealand poems for me to consider: among the items in this pile was a slim, rather unassuming little volume by Alistair Campbell titled Galliploi & Other Poems. Whilst Gallipoli naturally conjures up powerful socio-historical associations for all New Zealanders, I was almost immediately drawn to the second set of poems in the book titled Cages for the Wind and decided to set the last five poems in the collection as a cycle. What struck me most, and still seems so fresh now, was Campbell’s talent for evoking deeply powerful images and feelings in poems of matchless delicacy and subtlety. This understated approach is what drew me to a poem like “Whitey” in which Campbell couches a rumination on death in what appears to be at first an almost whimsical remembered dialogue with a blackbird (the eponymous Whitey) that used to frequent his garden. Most important for me as a composer, though, was the immediately singable lyricism of the poems. I distinctly recall the way, as I began reading it, “Words and Roses” (the first song, and one of Campbell’s most famous poems), began to suggest musical atmospheres and vocal lines unfolding in my mind like buds of roses unfurling their petals. When poems being to sing themselves to me, I know I have found the right material.

• Stephan Prock: Cages for the Wind - hardcopy score 

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• Stephan Prock: Cages for the Wind - downloadable PDF 

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Orchestrated from the 2010 original, for soprano and piano.

• Stephan Prock: Cages for the Wind - hardcopy score 

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• Stephan Prock: Cages for the Wind - downloadable PDF 

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This piece is essentially a study of two elements. First is the resonance of the piano, triggered by pizzicati played by an assistant on the lowest strings. This resonance can then be altered with use of the sustain pedal; lifting the sustain pedal very gradually for example, creates the effect of a crescendo on a single note, this is something which is not normally possible on a piano. The second element is a melodic line on the keyboard. It acts as a foil by creating resonances of its own though a range of decorative figurations and implied harmonies that may or may not be sympathetic to the resonance set up by the pizzicati.

• Eastwood: Cantilena; computer set 

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• Eastwood: Cantilena; computer set 

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Inspired by Iranian singer Ahkbar Golpyegani (‘Golpa’) singing a ghazal by Sa’di (Persian sufi poet, c.1200-1292), accompanied by violin.

• Jack Body: CARAVAN - hardcopy score 

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• Adams, C.: Chamber Concerto for Tenor Saxophone and Contrabassoon/Bassoon; computer-set 

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• Adams, C.: Chamber Concerto for Tenor Saxophone and Contrabassoon/Bassoon; computer-set 

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