Island Song by Promethean Editions

islandsong

DRYSDALE OVERTURE Douglas Lilburn

overtures should have a solemn introduction, with

New Zealand Symphony Orchestra

and that they should have a contrasting ‘second

Conducted by Kenneth Young

subject’ – hence my nostalgic oboe tune, with

From Landscapes – New Zealand Orchestral Music

fitting Scottish inflections. Curiously, what might

motifs recalled later in various structural guises,

have been a routine ‘development’ turned into a ‘When I arrived at the Royal College of Music in

sunlit rondo, nostalgic of childhood happiness.

London, in September 1937, and was accepted

‘I’m left with that lovely Mark Twain image

as a student by Vaughan Williams, he put me

of Jim and Huckleberry drifting on their barge

through routine disciplines of writing fugues and

down that great river, looking up at the stars and

part-songs, and then one day said: ‘Isn’t it time

wondering ‘whether they was made, or only just

you composed something?’ I accepted the chal-

happened’. Douglas Lilburn

lenge and produced my Drysdale Overture, with its nostalgic memories in a musical language which rather disconcerted him. Still more did it upset Sir George Dyson, who brilliantly realised

Douglas Lilburn

my rough orchestral score on the piano and then

pre-eminent position in New Zealand music his-

wryly said: “Don’t bring me another manuscript

tory, with a legacy extending well beyond his com-

like that.” He did, however, give it a reading re-

positional output. As a composer, a teacher, and

hearsal with the RCM first orchestra, and I took

later as a generous and encouraging background

steps to improve my musical handwriting.

presence, he presided in innumerable ways over

(1915-2001) occupies a

‘In those far-off heady days, Hans Keller’s

the artistic growth of this country. His music, from

‘functional analysis’ had hardly impacted on the

the early works redolent of Sibelius and Vaughan

RCM – we students ignorantly and derisively

Williams, to the electroacoustic pieces of his later

called it ‘sweet F.A.’ – and so I may hardly provide

years, makes up a corpus of works that was in-

an ‘analytical synopsis’. With my meagre knowl-

strumental in establishing a genuine vernacular in

edge of classical forms, I thought that proper

New Zealand classical music.

Russell Moses, Whareakeake Koanga VII, 2009, acrylic on board â&#x20AC;&#x201C; 36 pieces, 1600x1200mm. Artwork image courtesy of the Nadene Milne Gallery. Reproduced with permission from the Nadene Milne Gallery and the artist.

spent his early years on Drysdale, the family

ORAKAU Gareth Farr

sheep station in the central North Island. After

New Zealand Symphony Orchestra

winning a prize offered by Percy Grainger for a

Conducted by Kenneth Young

new New Zealand orchestral piece, he enrolled

Conal Coad, Bass

in 1937 at the Royal College of Music in Lon-

From Gareth Farr - Ruaumoko

The youngest of seven children, Douglas Lilburn

don, where his teachers included R.O. Morris and Vaughan Williams. On his return to New Zealand

Of the genesis of this work, Conal Coad writes:

he taught composition at the Cambridge Summer

‘More than sixty years ago my father Leon, school

Music Schools, and in 1947 joined the staff of the

teacher, poet and painter, was teaching in the tiny

newly-established music faculty at Victoria Uni-

Maori school of Otukou. Immersed in the history

versity of Wellington. There, he established a cen-

and tradition of the Maori at a time when New

tre for composition, bringing to his own music and

Zealand was experiencing the hostilities of the

to his students the fruits of his investigations into

Second World War, he became fascinated with

international trends in contemporary composition.

the epic battle of Orakau – a symbol of courage

He remained there until his retirement in 1981,

for a nation. His poem Dead Leaves of Orakau

He established Wai-te-ata Press Music Editions

was published in March 1941 in Art in New Zea-

in 1967, and in 1984 founded the Lilburn Trust,

land.

which continues to support and promote New Zealand music.

‘In March 1998, I attended a private soirée at which Gareth Farr’s piano trio Ahi received its premiere performance. It was an arresting musical experience for me. Speaking with the composer afterwards, I admitted to him that I had long wanted to add a musical setting of my father’s poem to my concert repertoire, and I was delight-

Heather Straka, Donor 3 - The Banquet, (detail) 2007, oil on canvas, 1000 x 800mm. Artwork image courtesy of the Nadene Milne Gallery. Reproduced with permission from the Nadene Milne Gallery and the artist.

ed when he expressed an interest in the concept.

Eastman School of Music in Rochester, NY, where

Also present was arts patron and friend Jenny

his teachers included Samuel Adler and Christo-

Gibbs, who, intrigued with the proposal, offered

pher Rouse.

to fund the project. From this felicitous occasion Orakau was born.

The inclusion of his works in four events at the 1996 New Zealand International Festival of

‘Although initially conceived as a work for

the Arts inaugurated his career as a dedicated

twenty players, in October 1999 it was a full sym-

freelance composer. Since then, Farr’s music has

phony orchestra that appeared on the Auckland

been heard at, or especially commissioned for

Town Hall stage for the world premiere of Orakau.’

many high-profile events. In 2006 Farr was made an Officer of the New Zealand Order of Merit, for his services to music and entertainment. In the same year, the Royal New Zealand Ballet toured the country with their brand new work The Wedding, featuring a score by Farr. It was among the ballet company’s most ambitious projects, combining Farr’s talents with those of New Zealand novelist and librettist Witi Ihimaera.

Gareth Farr (b.1968) was born in Wellington,

Farr’s music is particularly influenced by his

New Zealand. He began his studies in composi-

extensive study of percussion, both Western and

tion and percussion performance at the University

non-Western. Rhythmic elements of his compo-

of Auckland. The experience of hearing a visiting

sitions can be linked to the complex and excit-

gamelan orchestra prompted his return to Wel-

ing rhythms of Rarotongan log drum ensembles,

lington to attend Victoria University, where the

Balinese gamelan and other percussion music of

characteristic rhythms and textures of the Indo-

the Pacific Rim.

nesian gamelan rapidly became hallmarks of his own composition. Farr continued with postgradu-

Latest information about Gareth Farr may be

ate study in composition and percussion at the

found at www.garethfarr.com.

THE SNOW GOOSE John Ritchie Bridget Douglas, flute

This adaptation for piano and flute dates from 1999.

Rachel Thomson, piano

John Ritchie (b.1921) was born in Wellington,

From Taurangi

New Zealand. He spent most of his working life in Christchurch where he conducted choirs and

The Snow Goose is a gentle tribute to the goose

orchestras, taught composition for forty years and

which, together with Philip Rhayadar and Frith, is

wrote music, much of which was for his own John

a central figure in Paul Gallico’s eponymous story

Ritchie String Orchestra. As Professor of Music at

of the Second World War. This feathered wander-

the University of Canterbury he introduced resi-

er from Canada, rescued from the marshes of Es-

dent string quartets from the USA, Czechoslova-

sex by Frith, tamed and befriended by Rhayadar,

kia, England and New Zealand. He was deputy

follows his boat as far as the beaches of Dunkirk.

vice-chancellor of the university for six years, a

Rescued soldiers would swear that if you saw the

visiting professor at Exeter University in 1967-68,

bird, you would eventually be saved. The flute de-

and secretary-general and later president of the

picts the bird’s flight and its serenity, eventually

International Society for Music.

to be interrupted by sounds of war and imminent

His compositional output includes the well-

tragedy. Both yacht and yachtsman perish. The

known Concertino for Clarinet, two Suites for

bird wheels in salute and flies back to Frith, the

Strings, the overture Papanui Road, a Saxophone

empty landscape of the marshes and Rhayader’s

Concerto, Partitas for Brass Quintet and Wind

crumbling lighthouse, subsequently to return to

Octet, much choral music, works for brass band,

its native land.

fifty Christmas carols and dozens of fanfares.

In its original form (with orchestra) The Snow Goose was first performed in June 1982, the year of its composition, by flautist Pamela Keightley with the University of Canterbury Chamber Orchestra conducted by the composer.

Allegro & Air from SUITE NO.1 FOR STRING ORCHESTRA John Ritchie

opening ideas in a traditional sonata manner,

NZSO Chamber Orchestra

for solo violin and viola. There is a resumption of

Donald Armstrong, Music Director

growth before the end.

From John Ritchie – Aquarius

Allegro, the first movement, develops the before the flow is interrupted by a slow variant

The second movement, Air, comprises a solemn folksong-like melody, a more intense con-

Throughout a long composing career, John

trasting section, and a reprise of the opening

Ritchie has chosen to write in an accessible and

material.

traditional manner, often in stark contrast to much of the work being produced by his contemporaries in the style of the European ‘avant garde’. The suite is representative of Ritchie’s compositional style. Suite No.1 for String Orchestra is dedicated to Alex Lindsay, founder and conductor of the Alex Lindsay String Orchestra. It was completed in April 1956 and performed soon after by the National Orchestra (the forerunner of the New Zealand Symphony Orchestra) under the director of John Hopkins.

Gretchen Albrecht, Nocturne – nomadic geometrics – Daybreak, 1992, acrylic and oil on canvas,1200 x 1900mm. Artwork image courtesy of the Nadene Milne Gallery. Reproduced with permission from the Nadene Milne Gallery and the artist.

WAIPOUA Gareth Farr New Zealand Symphony Orchestra Kenneth Young, Conductor Mary Scott, Clarinet From Gareth Farr – Sea Gongs

The composer writes: ‘Waipoua is an exploration of the lyrical and emotional capabilities of my favourite wind instrument, the clarinet. It is also recalls a memorable trip to the Waipoua State Forest, with its healing air, cool green light, delicate echoing sounds, and the overwhelming sight of Tane-Mahuta, the giant kauri tree.’

Max Gimblett, Chapel of Gold, (detail) 2009, gesso, red clay, canvas, oil size, swiss gold/wood panel, edge gilded, 25 x 25 in. Artwork image courtesy of the Nadene Milne Gallery. Reproduced with permission from the artist.

ISLAND SONGS John Psathas NZTrio: Justine Cormack, violin; Ashley Brown, cello; & Sarah Watkins, piano From The New Zealand Trio – Spark

The composer writes: ‘These three pieces were each inspired by certain styles of Greek dance music. They are not so much simulations of these styles as they are my own reaction to them, and what I have responded to mostly is the unique energy of the dance types. The first piece involves a number of styles and reflects what I perceive as the latent energy in much of this music – although here it only surfaces from time to time. The second is a reaction to the great strength of the zeibekiko dance, which is in

9/4 time, and often extremely slow. While not cast

John Psathas

in the same time frame as a true zeibekiko, this

poser and teacher who, at a relatively early stage in

movement does dwell upon the uncertainty of the

his career established an international profile. He

downbeat and the intensely focused emotional

receives regular commissions from organisations

content of this dance. The third piece is much in

both in New Zealand and overseas. He studied

the style of the Sirto dance, whose energy is al-

composition and piano performance at Victoria

ways lively and unfailingly contagious.â&#x20AC;&#x2122;

University of Wellington. He currently lectures in

Originally written in 1995, Island Songs exists in

music at the New Zealand School of Music while

two versions. The first (for clarinet, cello and piano)

continuing to fulfil a busy schedule of commissions.

was commissioned and premiered by the Kandin-

His works are championed around the world by a

sky Ensemble, and the present adaptation for piano

growing number of leading international artists, one

trio was made at the request of the Ogen Trio.

of the most consistent of whom has been the Scot-

(b.1966) is a freelance com-

tish percussionist Evelyn Glennie. Initially making a name for himself as a composer of high-energy percussion music, more recently Psathas has concentrated on a series of larger-scale concertante works. A major career highlight to date has been the exposure he received as a composer for the opening and closing ceremonies of the 2004 Olympic Games in Athens, Greece. Latest information about John Psathas may be found at www.johnpsathas.

com.

Andante tranquillo from SYMPHONY NO.3 “…REMEMBERED SONGS…” David Farquhar

David Farquhar

New Zealand Symphony Orchestra

ties, and the London Guildhall. In 1953 he joined

Kenneth Young, Conductor

the Music Department of Victoria University,

From David Farquhar – Three Symphonies

where he was appointed professor in 1976. A

(1928-2007) was born in

1928 in Cambridge, New Zealand and educated at Canterbury, Victoria and Cambridge universi-

committed advocate of New Zealand Music, FarIn Symphony No.3, …remembered songs…,

quhar was found-president of the Composers

Farquhar shifts from the cerebral towards a sus-

Association of New Zealand (CANZ) and a long-

tained lyrical expression, distinguished by the pu-

serving member of the board of the New Zealand

rity and strength of the composition along with

Composers Foundation. The composer of over

a pronounced linearity. These are wonderfully re-

100 works, Farquhar established his reputation

solved mature works – sensual landscapes where

in the realm of theatre music, especially the in-

curves of swelling forms and velvet recesses are

cidental pieces for Anouilh’s play Ring Round the

accentuated by his strong bright instrumental pal-

Moon (original version 1953-7, suite 1975) and

ette and expressive tonal modulations.

the 1962 opera A Unicorn for Christmas with

The composer writes: ‘This symphony is ded-

libretto by Ngaio Marsh, which enjoyed a royal

icated to the memory of my wife, Raydia, who died

performance during the visit of Queen Elizabeth

in 2001, and is based on material from my song-

II to New Zealand in 1963. In 2004 he was made

cycle, In Despite of Death, a work with which

a Companion of the New Zealand Order of Merit

she had been closely associated. The [complete]

for his services to music.

symphony follows the emotional shape of the song-cycle, moving from struggle and resistance towards acceptance.’

Paul Dibble, Soft Geometrics 2009, 2008, bronze, 440 x 520 x 520mm. Artwork image courtesy of the Nadene Milne Gallery. Reproduced with permission from the Nadene Milne Gallery and the artist.

TE PARENGA Gareth Farr

lar and enduring works of New Zealand theatre,

NZSO Chamber Orchestra

shared by most New Zealanders for childhood

Marc Taddei, Conductor

holidays spent at the beach. Bruce Mason per-

Patrick Barry, Solo clarinet

formed the work nearly a thousand times over two

From Gareth Farr – Warriors From Pluto

decades from 1959, in towns and cities through-

conveying as it does something of the nostalgia

out the country, but it was not until 2000 that the

“I invite you to join me in a voyage into the past, to that territory of the heart we call childhood.”

play was professionally revived in a performance by Peter Vere-Jones. Gareth Farr wrote incidental music for the production, and later expanded this material into a four-movement suite for clarinet

Bruce Mason’s one-man play The End of the

and strings with harp and percussion. The title,

Golden Weather is the story of a 1930s sum-

Te Parenga, is Mason’s name for the fictionalised

mer spent by the sea, seen through the eyes of

Auckland beachfront suburb of Takapuna where

a twelve-year-old boy. It is one of the most popu-

the play is set.

Ans Westra, CastleCliff Beach, 1993, silver gelatin print, 290 x 290mm (image only). Artwork image courtesy of the Nadene Milne Gallery. Reproduced with permission from the Nadene Milne Gallery and the artist.

Gretchen Albrecht With a career that spans over forty years, Gretchen Albrecht is one of New Zealand’s contemporary art masters. Born in 1942 Albrecht gradated from the Elam School of Fine Arts, Auckland in 1963. Her first solo exhibition was opened by Colin McCahon in 1965.Albrecht has developed one of the most widely recognised personal styles in New Zealand painting. Most familiar being her colour saturated shaped canvases. She once described these works as a shape to contain a feeling. The images resonate combinations of colour and geometry; her paintings are poetic images that allude to the landscape, family, faith, literature and cosmology. In the organic way that they unfurl and combine, Albrecht’s important work asserts the power of abstract art and confirms the claim that less is actually more.

Max Gimblett is the grand master of abstract painting in New Zealand. On his frequent visits from New York (where he has been based since 1972), the New Zealand art world celebrates his return with a schedule of exhibitions and events countrywide. There are many causes for celebration; Gimblett exhibits widely in Europe, the United States, Asia and Australia, his work is represented in major public and private collections around the world, and in 2009 Gimblett was selected to exhibit in a group show at the Guggenheim Museum, New York.

Russell Moses The land; its history, physical and spiritual connections are concerns that underpin the art practice of Russell Moses whose successful career spans close to thirty years. Russell Moses was born in 1948 in Palmerston North, New Zealand. He first came to prominence in the 1970’s, creating large pit-fired ceramic sculpture installations. He has a background in a number of mediums including painting, printmaking, ceramic art and sculpting. Moses is a self-taught artist and has exhibited locally and internationally since 1980. His work is part of many public and collections throughout New Zealand. A twenty year survey exhibition of Moses’ practice was held at the Dunedin Public Gallery in 2008.

Heather Straka In a short period of time, Heather Straka has gained a reputation as one of New Zealand’s most accomplished artists. This rapid ascent is related to two important aspects of her work; the technical finesse of her practice as a painter and the daring bravado of her subject matter. In her most recent series of work, Straka has completely transgressed the polite rules of political correctness laid down after the cultural warfare of the 1990s. Through her appropriation of Maori portraits by Victorian artists, combined with the sacred symbols of Catholicism, Straka has created the most damning and insightful works of recent New Zealand art history. She was the Frances Hodgkins Fellow for 2008.

Ans Westra For over fifty years, Ans Westra has produced photographs that capture the New Zealand psyche. She emigrated from Holland in 1957 at a time of huge change in New Zealand society. Westra has documented these changes as New Zealand grew from a colonial dominion to an independent nation. She made social documentary series of people and communities when photography was barely recognised as an art form in New Zealand. Consequently, her work was primarily reproduced in publications, journals and bulletins for government departments. Through the 1970s however, Ans was involved in a movement to establish photography as a form of fine art and has since received the long overdue recognition for her influence on New Zealand culture. This includes the major touring exhibition and accompanying publication ‘Handboek: Ans Westra Photographs’ which begin touring New Zealand public galleries in 2005.

Paul Dibble ‘One of the great delights of Paul Dibble’s work is that it asserts the European traditions that form the second stream in New Zealand’s bicultural mix. It is a slight shock, but nonetheless a pleasant one, to be reminded that the modernist traditions of the European twentieth century are also available to us.’ Hamish Keith for Gowlangsford Gallery, 1998. All artwork for this booklet was especially selected by the Nadene Milne Gallery from the associated group show, August 2010.

islandsong

is a collection of beautiful new zealand music from the trust records catalogue MMT2044 Digital Stereo Recording C 2010 HRL Morrison Music Trust  2010 HRL Morrison Music Trust Executive Producer Ross Hendy Associate Executive Producer Charles Davenport Digital Re-Mastering Keith Warren Design Mallabar Music Drysdale Overture by Douglas Lilburn features the New Zealand Symphony Orchestra, Kenneth Young (conductor), recorded in the Michael Fowler Centre, Wellington, New Zealand, 23-25 July 2001, from the album Landscapes (MMT2037) Producer Murray Khouri, Continuum Engineer Keith Warren, Radio New Zealand Digital Editing & Mastering Wayne Laird, Atoll Orakau by Gareth Farr features the New Zealand Symphony Orchestra, Conal Coad (bass) & Kenneth Young (conductor), recorded in the Michael Fowler Centre, Wellington, 29-31 May 2003, the

Metropolitan Cathedral of the Sacred Heart of Jesus, Wellington, 15 November 2003, and in the Sounds Unlimited Studio, Wellington, 1 August 2003 and 22 April 2004, from the album ‘Ruaumoko’ (MMT2042)  & C 2005 HRL Morrison Music Trust Producer Gareth Farr Recording Engineers Richard Hulse & Neil Maddever Post Production Wayne Laird The Snow Goose by John Ritchie features Bridget Douglas (flute) & Rachel Thomson (piano), recorded in the Ilott Theatre, Wellington Town Hall, Wellington, New Zealand, 29 November to 1 December 2004, from the album Taurangi (MMT2063)  & C 2005 HRL Morrison Music Trust Producer and Editor Roger Smith Recording Engineer Keith Warren Digital Mastering Keith Warren Waipoua by Gareth Farr features the New Zealand Symphony Orchestra, Kenneth Young (conductor) & Mary Scott (clarinet), recorded at Symphony House, Wellington, New Zealand, August 1997 & March 1998, from the album ‘Sea Gongs’ (MMT2021)  & C 1997-1998 HRL Morrison Music Trust Technical Production Atoll Ltd Producer Wayne Laird Recording Engineer Sam Negri Digital Editing and Mastering Wayne Laird

Island Songs by John Psathas features NZTrio, recorded in the Music Theatre, The University of Auckland, Auckland, New Zealand, 7-9 September 2004, from the album ‘Spark’ (MMT2066)  & C 2005 HRL Morrison Music Trust Producer Marc Taddei Digital Mastering Wayne Laird Recording Engineer Paul McGlashan ‘Allegro’ and ‘Air’ from Suite No.1 for String Orchestra by John Ritchie features the NZSO Chamber Orchestra, Donald Armstrong (music director), recorded in Sacred Heart Cathedral, Wellington, 4 February 1997 (sourced from the archives of Radio New Zealand and Concert FM) from the album Aquarius (MMT2040)  & C 2002 HRL Morrison Music Trust Producer Roger Smith Engineer Keith Warren ‘Andante tranquillo’ from Symphony No.3 …Remembered Songs… by David Farquhar features the New Zealand Symphony Orchestra, Kenneth Young (conductor), recorded in the Michael Fowler Centre, Wellington, New Zealand, 28-30 January 2004 from the album David Farquhar: Three Symphonies (MMT2060)  & C 2004 HRL Morrison Music Trust

Producer Murray Khouri Recording Engineer Keith Warren, Radio NZ Digital Editing and Mastering Wayne Laird Te Parenga by Gareth Farr features the NZSO Chamber Orchestra, Marc Taddei (conductor), Patrick Barry (solo clarinet), recorded in the Michael Fowler Centre, Wellington, New Zealand, 29-31 January 2001 from the album Warriors From Pluto (MMT2036)  & C 2001 HRL Morrison Music Trust Producer Gareth Farr Co-Producer Ross Hendy Recording Engineer, Digital Editing & Mastering Richard Hulse, Radio New Zealand The music of John Psathas and Gareth Farr is published exclusively by Promethean Editions Ltd. Orakau, Waipoua and Te Parenga C Promethean Editions Ltd. The HRL Morrison Music Trust was established in March 1995 as a charitable trust to support New Zealand musicians of international calibre. All funds received by the Trust are used to make recordings, present concerts and assist artists to undertake projects to further develop their talents. More information about other releasees by the HRL Morrison Music Trust can be found at: www.trustrecords.com The HRL Morrison Music Trust gratefully acknowledges the support of the following people and organisations in the making of this recording: Creative New Zealand, Nadene Milne, and the Nadene Milne Gallery.

islandsong

is a collection of beautiful new zealand music from the Trust Records catalogue

Drysdale Overture (1937) Douglas Lilburn