Orchestral Works
Maidan Pro Defunctis
Requiem for full orchestra, in one movement. Duration approx 18 minutes.
Scored for: piano solo, 2 fl (pic), 2 ob, 2 cl, 2 bsns, 4 hns, 2 tpts, 2 trbs, b. trb, tba, harp, timps, 1 percussion: (bass drum, sus. cymbal, tub bells, xylo) - Full Strings.
Requiem for full orchestra, in one movement. Duration approx 18 minutes.
Scored for: piano solo, 2 fl (pic), 2 ob, 2 cl, 2 bsns, 4 hns, 2 tpts, 2 trbs, b. trb, tba, harp, timps, 1 percussion: (bass drum, sus. cymbal, tub bells, xylo) - Full Strings.
'Dedicated to the memory of all those who lost their lives in Maidan Square, Kiev, Ukraine, in 2013''
The Cosmic Mandala
For full orchestra in six movements. Duration 40 min. World premiere 1987.
The work ends with a vision of the central Divine White Star. The third movement, Microcosmos, is a palindrome.
For full orchestra in six movements. Duration 40 min. World premiere 1987.
- Dominus,
- Regina,
- Microcosmos,
- Fate,
- Sun,
- Milky Way
The work ends with a vision of the central Divine White Star. The third movement, Microcosmos, is a palindrome.
The Opening of a Rose - 'in memory of 9/11'
For string orchestra - In one movement
Duration 6 mins.
Duration 6 mins.
Jubilation Overture
Orchestral overture originally composed for the Queen's Golden Jubilee of 2002
Scored for - 2 fl, 2 ob, 2 cl Bb, 2 Bsn, 2 tpt, 4 hns, 2 ten trb, b. trb, tba, timps, 2 percussion: (sd, bd, tgl, tmb, clshd cym), strings.
duration 4 mins
Orchestral overture originally composed for the Queen's Golden Jubilee of 2002
Scored for - 2 fl, 2 ob, 2 cl Bb, 2 Bsn, 2 tpt, 4 hns, 2 ten trb, b. trb, tba, timps, 2 percussion: (sd, bd, tgl, tmb, clshd cym), strings.
duration 4 mins
Parihaka for orchestra
Parihaka - new work 2021
for full orchestra
duration 10mins
scored for - pic, 2 fl, 2 ob, 2 cl in A, 2 bsns, c.bsn, 4 hns, 2 tpts in C, 2 ten trbs, bass trb, tba, timps, harp - 3 percussion: (BD, sus cym, clsh cym, tam, guirro, glock - high tom, low tom, xylo - egg shaker, maracass, snare drum) violin 1, violin 2, viola, cello, bass
The story of what happened at Parihaka on Nov 5th 1881 is hard to digest. The barbarous invading army under orders and the heinous acts that they perpetuated against ‘peaceful’ resistance are almost unbelievable.
This was to end the Maori wars, a defining moment in the history of Aotearoa. From the first moment I heard about Parihaka I knew I wanted to compose a piece of music in response. This ten minute work for orchestra describes the events of that day in 1881, with the dominant bass drum that the villagers heard approaching. This was a clash of cultures. But I also questioned the type of men who would do such a thing. They were sailors who spent a long time on ship. So the discovery of a sea-shanty named ‘Roll the Chariot’ fitted them well. The shanty itself is thought to be developed from a negro-spiritual sung during repetitive arduous work. It may even have Scottish roots, with it’s ‘Scotch-snatch’. Either way this uplifting song counterbalances the simplistic ‘tribal’ percussion and bleakness of the time. The trumpet theme at the beginning of the work and at the end, now with mute, offers the ‘unanswered question’ reminiscent of Charles Ives’ famous work. I am very proud of Parihaka.
for full orchestra
duration 10mins
scored for - pic, 2 fl, 2 ob, 2 cl in A, 2 bsns, c.bsn, 4 hns, 2 tpts in C, 2 ten trbs, bass trb, tba, timps, harp - 3 percussion: (BD, sus cym, clsh cym, tam, guirro, glock - high tom, low tom, xylo - egg shaker, maracass, snare drum) violin 1, violin 2, viola, cello, bass
The story of what happened at Parihaka on Nov 5th 1881 is hard to digest. The barbarous invading army under orders and the heinous acts that they perpetuated against ‘peaceful’ resistance are almost unbelievable.
This was to end the Maori wars, a defining moment in the history of Aotearoa. From the first moment I heard about Parihaka I knew I wanted to compose a piece of music in response. This ten minute work for orchestra describes the events of that day in 1881, with the dominant bass drum that the villagers heard approaching. This was a clash of cultures. But I also questioned the type of men who would do such a thing. They were sailors who spent a long time on ship. So the discovery of a sea-shanty named ‘Roll the Chariot’ fitted them well. The shanty itself is thought to be developed from a negro-spiritual sung during repetitive arduous work. It may even have Scottish roots, with it’s ‘Scotch-snatch’. Either way this uplifting song counterbalances the simplistic ‘tribal’ percussion and bleakness of the time. The trumpet theme at the beginning of the work and at the end, now with mute, offers the ‘unanswered question’ reminiscent of Charles Ives’ famous work. I am very proud of Parihaka.
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A Day Trip to White Island/Whakaare - new work 2021
for full orchestra duration 8:17 mins "Half a league, half a league, Half a league onward" scored for- pic, fl, alto fl, 2 ob, 2 cl in Bb, bass cl, 2 bsns, c.bsn, 4 hns, 2 tpts in C, 2 ten trbs, bass trb, tba, timps, harp - 5 percussion: (SD, BD, clash cym, tam, tub bells, xylo, piano), violin 1, violin 2, viola, cello, bass The brooding volcano is described with an uneasy ostinato on wind and strings whilst the brass menace with surging chords. Suddenly the piano erupts and drives the orchestra towards a climax. Moments of pause occur but the relentless, unsleeping volcano always continues to threaten. The juxtaposition of mechanical musical ostinati against natural forces serves as a striking contrast between man and nature. Gradually the orchestra begins a requiem for all those who lost their lives on White Island, an apotheosis. |
A Day Trip to White Island/Whakaare
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Chamber Works