216 results for Creative work

  • 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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  • NZSO Cresswell Concerto premiere

    Depledge, Stephen

    Creative work
    The University of Auckland Library

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  • Leo Bensemann: A Fantastic Art Venture

    Simpson, Peter; Waite, N

    Creative work
    The University of Auckland Library

    This exhibition, eight years in the planning, had the misfortune to open one week before the 22 February 2011 Christchurch earthquake; the exhibition was immediately taken down and never went up again – the Christchurch Art Gallery has still not reopened. Although in my book Fantastica: The World of Leo Bensemann (NRO1) I covered the whole of Bensemann’s career, in the exhibition I took responsibility for the paintings (portraits and landscapes) , while Dr. Noel Waite (University of Otago) looked after Bensemann’s graphic work, book design and printing. This was the most extensive exhibition of Bensemann’s work ever mounted and together with Fantastica will compel a major reassessment of his place in New Zealand culture. Art New Zealand wrote of it: ‘The exhibition (including more than 100 items) is significant in bringing together what has in the past appeared disparate and unrelated; here Bensemann's entire oeuvre - the output of a painter, illustrator, calligrapher, typographer, designer and publisher is given equal billing. Although this exhibition is an important re-assessment and valuable for a new generation unfamiliar with his work, a national touring show would have precipitated an even greater awareness’.

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  • Thomas Daniel Schlee's opera 'Ich, Hiob' op 68 for tenor, soprano, solo cello and a small instrumental ensemble

    Rummel, Martin; Azesberger, K; Langmayr, U

    Creative work
    The University of Auckland Library

    Thomas Daniel Schlee's opera "Ich, Hiob" op 68 for tenor, soprano, solo cello and a small instrumental ensemble had its world premiere (and simultaneous live recording by ORF)

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  • Ripped

    Lee, Pei-Jung

    Creative work
    The University of Auckland Library

    I feel "it" ripped out of me, hurting and angry, bleeding and feeling empty. But life goes on and I go on with this life "ripped".

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  • J.S. Bach in the Italian Style (JH Tibbles, harpsichord) [CD recording]

    Tibbles, James

    Creative work
    The University of Auckland Library

    Harpsichord music by J.S. Bach, performed on the Paul Downie copy of Christian Zell 1728 double manual harpsichord

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  • The Troupe

    Harvey, Mark

    Creative work
    The University of Auckland Library

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  • Sesquialtera [CD recording]

    Tibbles, James

    Creative work
    The University of Auckland Library

    Programme notes on the history of early English chamber organs, and on the Avery organ, by James Tibbles; "detailed information on the organ, including documentation on its restoration, registrations of the works on this CD and aspects of performance practice, is available on the Age of Discovery website

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  • Celebrate Choi Jeong Hwa's Flower Chandelier

    Lee, Pei-Jung

    Creative work
    The University of Auckland Library

    This piece was choreographed to respond to Choi Jeong Hwa's Flower Chandelier which was commissioned by the Auckland Art Gallery for their New Gallery. The concept of his work is to create life like flowers,focused on the simpleness and beauty. Besides responding to Choi Jeong Hwa's work, the dance celebrated the diversity of rich cultures in New Zealand through multi-cultural dancers who performed contemporary dance choreography with Maori traditional music accompanied by live musician.

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  • Breathe, an electroacoustic work

    de Castro-Robinson, Eve (2010)

    Creative work
    The University of Auckland Library

    Composer Flautist Programme Note Breathe was commissioned by Irish flautist Bill Dowdall and features the sounds of him performing on both bass and sliding headjoint flutes. The other sonorities are vocalisms made by a young Italian visual artist, Alice Grassi, I met while we were both Associate Artists at the Atlantic Centre for the Arts in Florida in 2010. I was taken with her lilting voice and made many recordings. Breathe is an amalgam of breath, voice and flute sounds in a sensuous and suggestive interplay. It is included on the Atoll CD Breathe, new notes for flute from Ireland & New Zealand (ACD 111).

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  • Calls from the Ark, for bass clarinet

    Elmsly, John

    Creative work
    The University of Auckland Library

    One of 34 composers selected for this compilation «ShortCuts» – das ist eine bislang einzigartige Sammlung von kurzen Stücken für zwei Klarinetten bzw. Bassklarinetten. Das Kompendium von 34 vielfältigen Miniaturen von Musikschaffenden aus vier Kontinenten der Erde bildet eine Momentaufnahme gegenwärtigen Komponierens. Initiiert wurden die «ShortCuts» von den Klarinettisten Petra Stump und Heinz-Peter Linshalm. Zwanzig dieser Stücke finden sich auf der der Abo-Auflage der Neuen Zeitschrift für Musik beigege benen CD.

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  • Six obstructions [Exhibition]

    Esling, Simon

    Creative work
    The University of Auckland Library

    Le Corbusier's proclamation in 1923 that "a house is a machine for living in" offers a valuable metaphor for discussing architecture as both mass-produced utilitarian object and potent psychological entity. To look upon architecture as a functional object one can examine its place within the mechanisation of society and how ideas of speed and efficiency have found their way into modern urbanisation. Further to this notion of 'architecture-as-machine' is the psychological dissonance of buildings and their influence upon the human condition: the home as machine suggests the occupant has become a cog in an uncanny device. Six Obstructions is an exhibition of models and paintings that examine the intersection of the body with machines, architecture and the environment. Dating from Le Corbusier's statement, and evolving since World War Two, there has been an ongoing interest in architectural paradigms relating to the body. In recent times the advent of nanotechnology has opened the discussion further, heralding a new age of construction. Through an exploration of art historical references and architectural practices, Six Obstructions (Cutting; The Body; Pouring; The Wall; Abstraction and Negation) seeks to address the point at which evolution and entropy take effect. This work has been generously supported by Creative New Zealand.

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  • Calenture Suite Parts I-IV and Reprise

    Lines, David; Mason Battley, C; Giles, S; Thomas, S; Psathas, J (2015-10-24)

    Creative work
    The University of Auckland Library

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  • Temporality and education: Incorporating a piano performance of Chopin’s Barcarolle, F sharp major, Opus 60

    Locke, Kirsten

    Creative work
    The University of Auckland Library

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  • Tout Ensemble

    Hillary, S; Bosshard Browne, P; Cochran, V; Jack, F

    Creative work
    The University of Auckland Library

    Group exhibition

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  • International Akaroa Music Festival 2016

    Salzmann, Edith

    Creative work
    The University of Auckland Library

    Artistic Director of the festival. Gave a masterclass for 16 cello students from NZ and abroad as well as designed and performed in a concerts series with 9 professional and 14 student concerts. The 2016 international guest artists were Prof. Peter Hoerr, cello, Prof. Elisabeth Kufferath, violin and NZ concert masters Andrew Beer (APO) and Yuka Eguchi (NZSO).

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  • FLUTE FEST CONCERT; Uwe Grodd, performer and conductor flute choir; Schubert 'Staendchen', Hiroshi 'Ocean'

    Grodd, Uwe

    Creative work
    The University of Auckland Library

    Flautist and Conductor Final concert of flute Fest '16 including a flute choir of 16 players

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  • Tongues of Stone : a Site Sensitive Performance

    Brown, Carol; Hannah, D

    Creative work
    The University of Auckland Library

    Carol Brown - Choreography, Concept and Artistic Direction As a site-sensitive dance-architecture event, Tongues of Stone sought to transform the Central Business District of Perth, Western Australia, into a network of stories experienced through movement, sound and design, drawing attention to forgotten histories and the traumatic residue of colonialisation through performative encounters. Led from the Murray Street underground to the Swan River, the mobile audiences pathway followed an itinerary of lost wetlands and disappeared lakes covered over by urban development and infrastructure. Listening to MP4 recordings on headsets, the soundscape contained traces of three different stories adapted from writings by Ovid, Carol Anne Duffy and Audrey Fernandez-Satar. This collage of interwoven stories obliquely referenced the diverse understandings and temporalities of the city as it is re-imagined through mytho-poetic invention. A woman who has lost her tongue struggles to communicate with her newly wed sister; another reads her body like the map of a city that is both foreign and familiar; a chorus of water-carriers remember and trace tributaries of ancient wetlands; and a girl-band plays their bodies like angry instruments against the concrete facades; a long red dress becomes a tongue and the ancient Wagyl of Nyungar Dreamtime. Tongues of Stone re-imagined Perth as a place of many stories streaming through its streets, laneways and civic sites. As a work of critical engagement with the city it sought to awaken perceptions to the echoes and resonances of subterannean fluids now buried by development, to promote a sense of engagement with urban space that is enchanting and de-familiarising encouraging ecological stewardship whilst empowering the presence of women in the city to transform behaviours and promote new ways of engaging citizenship in civic life.

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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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