Auckland Philharmonia/Miguel Harth-Bedoya. Recorded by Radio New Zealand Concert, 27 November 2011.
PETER ADAMS: Sonata for clarinet and viola
Rachel Vernon (cl), Peter Barber (vla). Recorded by Radio New Zealand Concert, 23 October 2014.
Andrew Uren (cl), Katherine Hebley (cello), Glenda Keam (tape realisation). Recorded by Radio New Zealand Concert, 13 October 2006.
Dan Poynton (pno). Recorded by Radio New Zealand Concert, 5 March 2004.
Uwe Grodd (fl), Tzenka Dianova (pno). Recorded by Radio New Zealand Concert, 1 October 2006.
Claire Cowan: Opito
“I like to collaborate with other artists so that I may be musically inspired by their creative vision, and in turn they may become inspired by mine. In music and art I admire simplicity, emotion and originality.” - Claire Cowan
Auckland-based composer Claire Cowan has pursued a career in music for concert, film and theatre since graduating from the University of Auckland with Honours in 2006.
Opito is a short fanfare about Opito Bay in the Coromandel. It features extended brass techniques and imitations of sea gull calls and dolphin sounds. It was composed when Cowan was still in her teens.
It's performed by the Auckland Philharmonia with conductor Miguel Harth-Bedoya.
Peter Adams: Sonata for clarinet and viola
Peter Adams is an Associate Professor in the Music Department of Otago University and a well-known conductor. He was educated in Dunedin, completing a B.Mus with 1st class Honours in 1981 at Otago University majoring in composition, conducting and clarinet performance. A Commonwealth Scholarship took him to London and King’s College where he completed a M.Mus in Theory and Analysis. Since returning to Dunedin to take up his post at the university, Peter has built up a fine reputation as a conductor and musical director working all around New Zealand.
Sonata for Clarinet and Viola was recorded in 2014 by Rachel Vernon (clarinet) and Peter Barber (viola) for the Resound Project Phase 2. Adams says about this work: "It's odd looking back at a piece from so long ago - and in a musical language very much of its time. It has a lot of the intensity and Quixotic mood and dynamic changes of the English 1980's school of Maxwell Davies, Alexander Goehr etc. There is constant motivic permutation going on throughout and also a recurring refrain/cadence figure. The premiere performance was given at New Zealand House, London in 1984 by Rachel Nicholson (clarinet) and John Rogers (viola). Rachel and John were good friends who had both played in the NZ National Youth Orchestra with me. I was thrilled that Rachel would revisit the piece – as I did – in 2014 for this RNZ Resound recording."
Glenda Keam: Bite
Glenda’s primary research area is the study of New Zealand music. She is closely connected to the New Zealand composing community, having served six years as Secretary of the Composers Association of New Zealand (CANZ), and since 2007 she has been President of that Association. Her compositions have been performed in New Zealand and abroad, and she has represented New Zealand at international festivals in Asia and Europe. Glenda has held positions as lecturer at the University of Auckland (1995-2006) and Senior Lecturer and Programme Director for Music at Unitec, Auckland. She has recently been appointed Associate Professor and Head of Music at the University of Canterbury.
The title Bite reflects a number of layers of 'meaning' in this work, images such as the ‘bite’ of the bass clarinettist on the reed, the cellist’s bow biting into the string, and some crockery resonances in the tape part to name but three. A high level of tension through the near-coincident rhythms in the instrumental parts is required, and the few melodic strands are quickly abandoned, frustrated. A sense of acceptance, of resignation, and some inevitability, enfolds the ending.
Eve de Castro-Robinson: Ring True
Eve de Castro-Robinson has been commissioned and performed by a wide variety of performers, and her output ranges from large orchestral to vocal, chamber and electroacoustic works which are performed in NZ and internationally. In 1986 Pierre Boulez conducted her Interpolations for orchestra in open rehearsal in Wellington. Her Triple Clarinet Concerto was the 1992 NZ entry in the International Rostrum of Composers, Paris and she is twice winner of the SOUNZ Contemporary Award. She was the first person to graduate DMus in Composition from the University of Auckland in 1991 and is currently Associate-Professor in Composition there. De Castro-Robinson has often been an adjudicator, speaker, writer, reviewer and broadcaster on musical topics, and is a trained graphic designer.
The composer says: "Ring True for piano, bell, and tam-tam was written for Dan Poynton, who premiered it at the ‘de Castro-Robinson Portrait’ concert at the 2004 NZ International Festival of the Arts. The three movement work is infused with bell references, from the title with its spiritual underpinning to the use of auxiliary metal percussion. The opening figures were inspired by a pair of tui at Bethells beach and the following high octave oscillations by a tiny brass bell from my childhood. The repeated bass chords are made up of the harmonic overtones used in constructing bell-metal. The cascading chords of the second movement are reminiscent of the ‘ringing the changes’ of church bells."
John Rimmer: Fifty Apples for Eve
Auckland-born composer John Rimmer studied composition with Ronald Tremain at the University of Auckland, and went on to study electronic music, analysis and composition at the University of Toronto. His compositions use a wide variety of musical forces: instrumental, orchestral and choral. About a quarter of his works employ electroacoustic resources and many works are published and recorded. He is the founder of the Karlheinz Company, an ensemble for new music at the University of Auckland, and played horn with them for many years.
John Rimmer composed Fifty Apples for Eve for flute and piano on the occasion of Eve de Castro-Robinson's 50th birthday.