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Matthew Davidson  

#5

Duration: 06' 00" Year: 1991
analogue tape piece

• Programme Note

  This “reverse theme and variations” was realized in Studio B of the Experimental Music Studiols at University of Illinois, Urbana, USA. Distorted beyond recognition, and then increased in speed to the point of white noise, the “theme” or sound source is revealed in the final moments. And, as should be the case, John Barrymore has the last word.

• Availability

  • Stolen Music - New Compositions by Matthew Davidson  

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  • Stolen Music - Chamber and Electronic Music by Matthew Davidson  Year: 1996 

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Judith Whitaker  

A Childhood

Duration: 02' 00" Year: 1991
for soprano (or treble) and piano

• Availability

  • Whitaker: A Childhood; facsimile 

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  • Whitaker: A Childhood; facsimile 

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Maria Grenfell  

A Pinch of Time...

Duration: 18' 00" Year: 1991
five songs for baritone (or medium voice) and piano

• Programme Note

  This cycle of five songs for baritone and piano was awarded the Philip Neill Prize by the University of Otago in 1991. It expresses five perspectives on the concept of time, some humorous and some more contemplative.

• Availability

  • Grenfell: A Pinch of Time...; facsimile 

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  • Grenfell: A Pinch of Time...; facsimile 

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  • Grenfell: 2 pieces from "A Pinch of Time..."; computer-set 

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  • Kowhai - an album of songs by NZ women composers  Year: 1994 

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  • Grenfell: selected works 

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  • Burning Bright - four NZ women composers  Year: 1999 

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Chris Cree Brown  

A Primitive Pathos (2)

 Year: 1991
music theatre for solo double bass

Bryony Jagger  

A song for my Lover

Duration: 03' 00" Year: 1991
for contralto, narrator and orchestra

Christopher Blake  

Ancient Journeys

Duration: 19' 00" Year: 1991
three pieces for solo piano

• Programme Note

  These three pieces for solo piano were commissioned by pianist Michael Houstoun. Each is concerned with aspects of deja vu or ‘second sight’ including sensations of past lives, strangely familiar places and the cyclical nature of experience. The second of these pieces is published by SOUNZ in First XV.

• Availability

  • Blake: Ancient Journeys; facsimile 

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    $15.00
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  • First Fifteen - a selection of piano music by NZ composers  Year: 1996 

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  • Michael Houstoun - Elusive Dreams  Year: 1996 

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  • Christopher Blake: Ribbonwood is Home  Year: 1998 

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Dorothy Ker  

and the rain...

Duration: 10' 00" Year: 1991
for double SATB choir

• Availability

  • Ker: and the rain...; facsimile 

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  • Ker: and the rain...; facsimile 

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    $9.00
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Jack Body  

Arum Manis

Duration: 08' 00" Year: 1991
for string quartet and tape

• Programme Note

  An unusual work combining field recordings of fiddle music played by an Indonesian street-seller of candy-floss (in Indonesian, "arum manis, meaning “sweet aroma”) with a string quartet. The listeners’ ears are charmed by music which passes seamlessly between the tape and the live performers. Composed for the Kronos Quartet, this work was presented at the 1996 International Rostrum of Composers.

• Availability

  • Body: Arum Manis; facsimile 

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    $21.00
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  • SOUNZfine Volume 3 

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  • Sound Barrier  Year: 2006 

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Anthony Ritchie  

as long as time

Duration: 10' 00" Year: 1991
for unaccompanied SSAATBB

• Programme Note

  This work was commissioned by The Southern Consort of Voices in 1991, with funding from Creative NZ. It sets three NZ poems to music, with a fourth song being wordless: Timepiece to a poem by Cilla McQueen; Before the Fall to a poem by Rachel McAlpine; I lie, I watch the ceiling (wordless); and We could just disappear to a poem by Sam Hunt.

  In 2001 Auckland choir Viva Voce recorded this work on their CD entitled Snapshots – A Cappella Choral Favourites. Conductor John Rosser writes of the work – “Anthony has a wonderful knack of writing for voice. Timepiece portrays a woman struggling to break free of suburban neurosis and the tyranny of time. Before the Fall alludes to lost childhood innocence, and We Could just Disappear depicts the future as an endless tunnel of the mind.”

• Availability

  • Ritchie A.: as long as time; facsimile 

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  • Ritchie, A: as long as time; facsimile 

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    $14.00
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  • Ritchie A.: as long as time; facsimile 

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  • Change Change Change... IAMIC Concert 2008 

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  • Music by Anthony Ritchie 

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  • Snapshots: A cappella choral favourites  Year: 2001 

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Nigel Keay  

At the Hawk's Well

Duration: 55' 00" Year: 1991
opera in one act

• Instrumentation
  2 sopranos playing percussion; 1 bass playing percussion; Bass; Tenor; Dancer; women's chorus; flute, alto flute, clarinet in A, bass clarinet, bassoon; horn, trombone, bass trombone; timpani, piano; strings (including solo electric violin); Percussion: Javanese drums, bass drum, tamtam and optional Javanese gong, gender, slentem, kempul.
• Programme Note

  An operatic setting of the dance-play by W.B. Yeats which is also performable as a dramatic cantata in a concert version. This is a one-act work and is ritualistic in nature reflecting Yeats’ modeling of the text on the Japanese Noh play. The music is at times dark and atmospherlc, and the archetypal symbolism and metaphysical suggestion of the text, wlth its archaic language and bleak images, is a rich source of inspiration for this. The musical language is comprehensive with tonality and atonality used in conjunction with each other to express literary ideas. Written for five solo singers with the main roles being a tenor and a bass, and a dancer, the backing ii provided by a 30 or so piece orchestra including piano, solo electric violin, and gamelan instruments.
  (Programme note from composer’s website)

• Availability

  • Keay: At the Hawk's Well; facsimile 

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  • Keay: At the Hawk's Well; facsimile 

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    $35.00
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  • Nigel Keay: At the Hawk's Well; video 

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