Concerto for Clarinet and Strings Op. 27
This piece was written for a competition in 1989 in which it was, unfortunately, not a winner. It is three connected movements, fast/slow/fast, with a slow introduction which presents a theme that will reappear throughout the work.
Hinemoa & Tutanekai Op. 22
This was written for the same competition mentioned above, a year earlier, when it was chosen for performance. The story is taken from a Mâori legend: the title characters are lovers, but because they are from warring tribes Hinemoa’s father has forbidden her from seeing Tutanekai. Sitting disconsolate on the beach at night, where all the canoes have been pulled up to stop her from using one to get to Tutanekai who lives on an island in the lake, Hinemoa hears his flute sounding across the water. At last, unable to resist the sound, she rushes into the water and swims to the island to be with him.
Concerto for Trumpet and Orchestra Op. 58
This concerto was written for a Cuban trumpeter in Puerto Vallarta Mexico in 2013. It is in the usual fast/slow/fast form and contains some Latin-American rhythms, especially in the last movement.
Symphony #3 Op. 71
This symphony, written in 2017, is dedicated to Maestro Anthony Armoré in appreciation of his advocation of the composer’s music. There are elements of minimalism to be found, especially in the first movement; this is an Andante with a theme, announced by a solo trumpet, that will appear in various guises throughout the piece. The second movement is a bubbling scherzo, a lyrical melody interrupting the rush of the music. The end is a brass chorale based on the ‘motto’ theme. The last movement features running 16th notes, against a more lyrical theme providing contrast, although even here the 16th notes underpin it. — John Robertson
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