6 results for Creative work, 2000

  • The Breath Moved Upon the Face of the Waters

    Matthews, Stephen; Nunns, R (2008)

    Creative work
    The University of Auckland Library

    Water is universally seen to symbolise the source of life, an elemental vehicle for cleansing and a facilitator of regeneration. To immerse on-self in the waters and to re-emerge without having been utterly dissolved in them . . . is to return to the well springs and regain fresh strength from that vast reservoir of the potential. A Dictionary of Symbols, Jean Chevalier and Alain Gheerbrant. The title refers to the ‘face’ or surface of the water, an intersection between air and water which when breathed upon acts as a point of interchange. This metaphor of intersecting elements resonates throughout the proposed piece, for example the exchange of cross cultural references and the constant interplay between both visual and audio images. The piece drew from images, sounds and beliefs associated with the pristine fresh water site Te Waikoropupu. The piece follows on from recent work and composition processes that reference elemental and natural symbolism, for example ‘The Bone Song’ and ‘A moon that you could hang your coat on’. The musical texture of the electro acoustic component was primarily constructed from short edited and processed samples of close miked musical and environmental sounds amplified to create a sound world that will function like an explorative audio microscope beckoning the listener to intersect the reflective surface of the known and travel further. The intention was to enlarge the auditory perception of minute sounds using specialist sound recording techniques (in particular close miking) and sound manipulation (sound design techniques). One of the specific aims of this project was to create a bi-cultural work, a cross-cultural exchange between Maori and European traditions. The piece being site specific (a reserve and natural spring), is particularly pertinent as there is presently as intense dialogue taking place as each culture seeks to assert and redefine its own unique relationship to the land – whenua, the rivers, lakes and sea. The title for the project is a quote from the book of Genesis. Not only does this excerpt contain the core imagery and central metaphor of the proposed creative work, it intentionally acknowledges significant spiritual cross-cultural links in particular the employment by Nineteenth Century Maori prophets of biblical imagery in a bid to help their people survive the spreading tide of European colonialism.

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  • At water's birth for piano trio

    de Castro-Robinson, EK (2009)

    Creative work
    The University of Auckland Library

    a piano trio commissioned by NZTrio in 2007

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  • The Fourth Station, for solo cello

    Holmes, Leonie (2008)

    Creative work
    The University of Auckland Library

    Original composition for solo cello Premiere performance of "The Fourth Station" for solo cello, commissioned by The Stations of the Cross Exhibition, Presbyterian Church of Aotearoa New Zealand 14-24 March 2008, played by Cameron Stuart. This was an Easter exhibition of artwork accompanied by concerts of commissioned music by New Zealand composers. "The Fourth Station was subsequently performed by Cameron Stuart in a concert by The Karlheinz Company, also in 2008.

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  • "is there anybody in there" and "Fragment for String Quartet" - two pieces for mixed chamber ensemble.

    Holmes, Leonie (2007)

    Creative work
    The University of Auckland Library

    Two compositions for mixed chamber ensemble These two compositions for mixed chamber ensemble are the second and third in a trio of pieces on the theme of fleeting visions of the unconscious, written as companion pieces to my chamber work "Inquietude", 2003. "is there anybody in there?" was written for bassoonist Ben Hoadley for inclusion in his concert series “New Zealand Music for Woodwind”, featuring work from New Zealand Composers, and was premiered in the Music Theatre, School of Music, University of Auckland, April 2010. Reviewed by William Dart for the New Zealand Herald, 12 April 2010: “ Holmes made much of Messiaen-like chords underpinning willowy lines, especially effective with flute, bassoon and piano deliriously intertwining”. Is there anybody in there? was repeated later in the year at All Saints Church, Howick in a concert series entitled Thursdays @ 7, 2 September 2010, and then at the third annual New Zealand Music for Woodwind concert, St Andrews on the Terrace, Wellington 20 April 2011. "Fragment for String Quartet" was commissioned by “The Committee” for a concert at the Clocktower, University of Auckland, 21 September 2007, featuring the Jade Quartet, who subsequently took the work on their tour of the South Island in October/November 2007. The Jade String Quartet comprises Auckland Philharmonia members Miranda Adams, William Hanfling, Robert Ashworth and Claudia Price. The work has been recorded and broadcast by Concert FM, and has had subsequent performances by the Karlheinz Company, 4 October 2009, and student group DSCH Quartet 23 May 2010. The Karlheinz Company concert was reviewed in the NZ Herald by William Dart 16 December 2009: “its wisps and spiralling of sound had a wonderful airiness”

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  • These arms to hold you: for children's voices and orchestra; text by Bill Manhire

    de Castro-Robinson, EK; Manhire, W (2007)

    Creative work
    The University of Auckland Library

    Composer a work for orchestra and children's voices commissioned for the New Zealand Symphony Orchestra by the Royal NZ Plunket Society to celebrate its 100th anniversary. A collaboration with poet Bill Manhire from Victoria University.

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  • Cirrus

    Matthews, Stephen (2007)

    Creative work
    The University of Auckland Library

    My role in the creation of this work was as the composer as well as the provision of complete parts to the NZSO including the addition of the final string bowings The title Cirrus is taken from the first stanza of James K. Baxter’s poem, High Country Weather (1948). Alone we are born And die alone Yet see the red-gold cirrus Over snow mountain shine Upon the upland road Ride easy stranger Surrender to the sky Your heart of anger What appealed was the depiction of individual endeavour, the expansive backdrop of New Zealand rural imagery and the poem’s final plea. Despite the foreboding beginning, metaphorically the ‘red-gold cirrus’ foretells of a change for the better. Cirrus are beautiful high transparent clouds typically streaming in the direction of the wind, usually signalling the arrival of fair weather. The opening of the piece employs high-pitched bell-like chords. While the upper and lower strings hold a sustained note, a bass clarinet introduces the first significant melodic theme. After the first full-orchestral climax the texture of the climax quickly dissipates to reveal a high-pitched modal melody. The brass abruptly interrupts this moment of quiet with an augmentation of the previous theme. After this interruption subsides the character of the music gradually becomes more uplifting and confident. Then solo instruments perform themes over a lively syncopated chromatic pizzicato bass line and variations of the original theme repeat, driving the music forward to reach the final climax. The piece ends with a final recapitulation of the high modal melody and arpeggiated echoes of the opening bell-like chords in the tuned percussion.

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