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Starting in a field close to Melbourne’s Western Ring Road, a llama lives a placid and slightly bored existence. Absent-mindedly picking at a chain-link fence, a gap appears: the animal can fit itself through and escape its confines. After a few cautious steps, it lurches forward and runs in sudden jerks. Making its way down a grassy hillside, it reaches the freeway crash barrier. Occupants of moving vehicles begin to notice the animal: “there’s a llama!” After a few tries, it successfully vaults the crash barrier and makes it onto the road itself. Vehicles whizz by and drivers honk their horns, but the llama is enjoying its freedom too much to be affected by them. Reports begin to reach news services: we hear a radio news theme and the growing noise of the Twitterverse.

The din of chatter around Melbourne becomes overwhelming and little more than indistinguishable noise, so the llama retreats into its head and to its elated thoughts: “I’m free! I’m my own animal! This is my dream, I’m no longer bound by a chain-link fence! It’s a whole new world! There’s a smile on my face for the whole…”

SQUEAL!! Its reverie is interrupted by an SUV with an absent-minded yet aggressive driver: the vehicle has to brake extremely suddenly to avoid hitting the llama, and misses it only by inches. Police have arrived on the scene and have begun to divert traffic. The llama becomes outnumbered to a greater and greater degree: there’s one last chance for escape, one tricky path to freedom, one last high-stakes roll of the “OOH TASTY TASTY LLAMA TREAT ON THE GRASSY BANK!! I LIKE TASTY LL… oh damn.”

Thirty minutes later, in the same field close to the Western Ring Road, the llama is once again bored. Picking at the chain-link fence, there’s no chance of escape. The fence has been repaired, the gap closed, the llama’s life restored to its former boredom.

More details here: http://www.robbie.co.nz/2012/12/09/llamadrama/

• Robbie Ellis: #llamadrama - hardcopy score 

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• Robbie Ellis: #llamadrama - downloadable PDF 

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13 was inspired by the Renaissance art I saw while studying and travelling in Italy in 2009 – 10. I was taken with the bold depictions of martyrs with the attributes of their lives and deaths.

13 is a set of 13 variations on a theme first presented by the organ. Each variation is based on one of the thirteen present at the Last Supper. The details of their lives are often sketchy, and sometimes sit somewhere between fact and legend. The order is as follows:

Theme
Var. I
St Simon Zealotes – Revolutionary; went to Armenia and Persia; sawn in half.
Var. II
St Thomas - Doubted Christ’s wounds; went to India; pierced with lance.
Var. III
St Philip – Sober-minded; went to Greece and Phrygia; crucified upside-down.
Var. IV
St Bartholomew - Honest; went to Armenia; flayed alive.
Var. V
St Jude Thaddeus – Farmer; went to Syria and Armenia; clubbed to death.
Var. VI
Judas Escariot – The betrayer; eternally punished; hung himself.
Var. VII
St James the Great – Fiery temper; ‘Son of Thunder’; Judaea; beheaded.
Var. VIII
St James the Less – Brother of Christ; Jerusalem and went to Egypt; thrown off temple.
Var. IX
St Matthew – Tax collector; accompanied by an angel; Ethiopia and Persia; martyr.
Var. X
St Andrew - The first-called; went to Ukraine and Black Sea; crucified on saltire.
Var. XI
St John – Author of Revelations; ‘Son of Thunder’; went to Asia Minor; died of old-age.
Var. XII
St Peter – Holder of the keys to the Gates of Heaven; went to Rome; crucified upside-down.
Var. XIII
Apotheosis

• Anthony Young: 13 - Theme and Variations - hardcopy score 

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I’ve admired John Psathas’ music for years, for its incredible sense of energy, its ability to defy categorization, and its cultural pluralism. With 4BY4 (his first non-pitched percussion piece), John delivers on all counts … and then some. If David Weckl, Christopher Lamb, Steven Schick and Giovanni Hidalgo – all percussion virtuosi from widely different genres – were to have a jam session, I can’t help but think that it would sound something like 4BY4.

Each of the four players plays a drumset-like set-up; one player has two snare drums a hi-hat, a tambourine, and a cymbal, another has two congas and a hihat, and the remaining two have tom-based set-ups. However, what binds these four seemingly disparate voices is the kick drum, which all four drumsets have. At times, these four drums pound a relentless beat in unison, and at others they’re split into complex rhythmic counterpoint.

It is this, in part, that makes 4BY4 such a great piece and a perfect fit for this album. John manages to take culturally different instruments, each with different playing techniques, and link them together with a common element – the kick drum. It is cultural pluralism at its best, with each voice maintaining its unique sound and identity, but seamlessly integrated into a common whole.
- Omar Carmenates

• John Psathas: 4BY4; video 

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• Omar Carmenates: The Gaia Theory CD  Year: 2012 

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• Mike Nock & Laurenz Pike - Kindred  Year: 2012 

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When the 90th birthday of Betty Somerville was approaching, members of Auckland Choral were asked to sing at a special birthday gathering as a surprise. Betty had been a long-time member of the choir, maintaining a strong active involvement behind the scenes after retiring as a singing member.

In searching for a suitable text for a piece to mark the occasion, I found that almost all birthday poetry fell into one of two categories – it was either tied to a specific age, or was incredibly saccharine and trite. I finally chanced upon Richard Wilbur’s “For K.R. on her Sixtieth Birthday” which contained more general sentiments and wishes. The K.R. of the title is the poet Kathleen Raine, and the reference to William Blake in the poem notes her devotion to that poet’s work.

• David Hamilton: A Birthday Offering - hardcopy score 

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• Hamilton: A Bright Light Still Shines  Year: 2011 

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I did intend to sit down and compose an orchestral epic. I really, really DID, honest. Could I help it that as soon as I made that decision, the saxes started up a 1920s tea dance in my computer?! Only it’s not all sweetness and light and good ol’ days, in fact it sometimes gets a little murky in there, to say the least…

• Audain: A Charleston Kick With Steel Caps; computer-set 

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• Audain: A Charleston Kick With Steel Caps; computer-set 

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• Two works by Yvette Audain 

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I did intend to sit down and compose an orchestral epic. I really, really DID, honest. Could I help it that as soon as I made that decision, the saxes started up a 1920s tea dance in my computer?! Only it’s not all sweetness and light and good ol’ days, in fact it sometimes gets a little murky in there, to say the least…

• Audain: A Charleston Kick With Steel Caps – alto sax quartet version; computer set 

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• Audain: A Charleston Kick With Steel Caps – alto sax quartet version; computer set 

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• Yvette Audain: A Charleston Kick With Steel Caps – alto sax quartet version; video 

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While the word ‘charm’ is mostly used to mean something pleasing, it can also mean an action thought to have magical power, or the chanting of a magic word or verse – an incantation. It can also be used as a collective noun, usually of birds.

This traditional text in Maori is a plea for the rain to depart and blue skies to appear. Preceding this, I have added several Maori terms for different types of rain – from misty rain through to drenching heavy rain. Rhythms in the work are often suggestive of typical Maori chant and kapahaka rhythms.

“A Charm for Rain: He Tua I Te Rangi” was written for Cantare (Westlake Girls’ High School) and conductor Fiona Wilson.

• David Hamilton: A Charm for Rain: He Tua I Te Rangi - hardcopy score 

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This piece was originally the fifth movement of a short Christmas cycle (“Angels and Shepherds and Wise Men All”) was written in 2012 for the end of year concert by South Auckland Choral Society to be conducted by the composer. The concert included my school choir, St Mary’s Schola, and I was keen to write something that the combined forces (including the soloists) in the concert could sing together.

The cycle doesn’t try to encapsulate the entire Christmas story, but focusses on those characters on the edge of the story – the angels, the shepherds and the wise man. In this piece, the characters who gathered around the infant Jesus are focussed on: the animals, the angels and the shepherds.

• David Hamilton: A Child Lay in a Little Crib - hardcopy score 

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• David Hamilton: A Child Lay in a Little Crib; audio 

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• The Treble Voice Choral Music of David Hamilton Vol. 4  Year: 2013 

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