388:, from the formation of the Earth through the entire span of life on Earth till the Sun cools. (quote: ...And the star... goes out!) It is scored for four orchestras in each corner of the auditorium, a five-member rock group, two adult choirs half-way up both sides of a large open auditorium, and four "floor choirs" totalling 440 children who act and dance as well as sing. Each has its own conductor, coordinated by listening through headphones to a tape of McLeod herself counting beats and bars. (Another track of the tape carries the narration.) At the end of act four, which brings the audience to the present (in the hippie era), which features the incorporated Pop Song 'Shadow People' the audience is invited to join in the dancing. The production involved 1000 people and took two years to bring to performance. Children from 16 schools contributed 2000 paintings of which 70 were chosen to be projected on silver screens at each end of the auditorium. The show was produced (US: directed) by
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performances—by his own desire held well in check, however, in the present recording). Though the music is newly composed, and its rhythmic language is very much of our own time (in a popular sense), it is also strongly impelled by the spirit of
Beethoven (Mozart, Schubert, Liszt, Debussy, Gershwin...)—the "distant friends" referred to in the first movement. Another friend was Charlie French, to whom the second, rather darker movement (scored for solo piano, strings and flute alone) is dedicated. Charlie was an Australian aboriginal activist who shared her home in Wellington for a time and later succumbed, alas, as an early victim of
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458:. The headlong last movement is in rondo-sonata form, with a Latino romp as its recurring rondo, a nursery-type second theme, and a development-cum-episode that starts in a quasi-Iberian vein. Each movement has a coda (in the first and last cases quite extended), and each may also be played independently.
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The first two movements are in sonata form, each complete with first subject, transition theme, and contrasting second group, with a classical-type development section, at the end of which there is also an opportunity for an improvised cadenza (Albulescu's idea, and an uncommon feature of his
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for piano, a work with strong classical roots and in places of
Lisztian difficulty, commissioned by the New Zealand pianist Bruce Greenfield for his gifted virtuoso pupil the seventeen-year-old Eugene Albulescu. (Partly on the strength of this score, the composer was invited in 1987 as an
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international guest composer to a ten-day contemporary music festival in
Kentucky, hosted by the Louisville Orchestra for its fortieth anniversary.) At Albulescu's request, in 2009 she scored and revised the rock sonata as a piano concerto which he might also direct from the keyboard.
316:. This technique emphasised forming the chromatic aggregate through the transposition and inversion of three-note pitch collections (trichords). McLeod expanded this technique to encompass all 223 possible set-classes (to use the terminology of Allan Forte's
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has subsequently been performed by a number of New
Zealand regional and youth orchestras. The version recorded here was revised by the composer in 2010. The text was adapted by the composer from Hans Christian Andersen's fairy tale
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explains the theoretical and philosophical basis behind her theory, and includes a rigorous listing of all set-classes (called
Intervallic Prime Forms) with detailed notes and observations on their properties.
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in 1970. In spite of its few performances, it is regarded as a landmark in New
Zealand music, by reason of its large scale, local content and experimental nature. A Royal Command Performance was recorded at
239:. In 1967 she became a lecturer in music at Victoria University. She was appointed at a young age to Professor in 1971, a position she held until 1976. During her professorship, she was influenced by
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522:. The work took three months to score, rehearse and perform and was McLeod's biggest choral event. Each song is based on a different colour. One that is still performed is
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was commissioned by the city of
Palmerston North to commemorate its centenary. It was performed six times during the week of 24–30 May 1971. It tells the history of the
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during the Land Wars of the 1800s. It was developed by McLeod over 15 years and requested by Matiu
Mareikura of the
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on 12 November 1941, the daughter of Lorna Bell McLeod (née Perrin) and Ronald D'Arcy McLeod, and grew up in
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Several of McLeod's songs were written for 1,000 children and the Bach Choir, which was performed at the
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is a large work for choirs and orchestra, mainly of children. It tells the story of the
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SOUNZ Centre for New
Zealand Music: biography, scores, recordings, links ...
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In the mid-1980s, McLeod encountered the work of Dutch composer
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in 2012. The opera is based on a true story of the Māori chief
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Commissioned in 1985 by the Wellington Regional Orchestra (now
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174:. She composed several major works for big groups including
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646:. Vol. 132, no. 116. 12 November 1941. p. 1
769:"Tone Clock Theory Expanded: Chromatic Maps I & II"
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on 28 November 2022, at the age of 81, McLeod lived in
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Tone Clock Theory Expanded: Chromatic Maps I & II
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Tone Clock Theory Expanded: Chromatic Maps I & II
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Academic staff of Victoria University of Wellington
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584:(12th ed.). Wellington: Reed. p. 404.
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556:Music in New Zealand Summer 1998–99 / number 34
686:The Norton/Grove Dictionary of Women Composers
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933:"Jenny McLeod at 80: "to me I'm always me…""
551:Music in New Zealand Spring 1992 / number 18
1068:Officers of the New Zealand Order of Merit
958:"MANUSCRIPT Sun Festival procession songs"
261:McLeod is best known for two major works,
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340:Jenny McLeod at home in Pukerua Bay, 2009
256:Officer of the New Zealand Order of Merit
1073:Victoria University of Wellington alumni
773:The Centre for New Zealand Music (SOUNZ)
670:"Festival's 1000 kids light her eyes".
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853:"Kiwi opera Hohepa takes centre stage"
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688:, W. W. Norton & Company, 1995.
533:for the annual choral competitions
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1098:New Zealand women music educators
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851:Fitzsimons, Tom (14 March 2012).
798:The Emperor and the Nightingale".
414:) for a family concert under Sir
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118:Victoria University of Wellington
905:"McLeod dancing to her own tune"
684:Julie Anne Sadie, Rhian Samuel,
445:began life in 1986 as a (first)
427:in the English version found in
30:For the British playwright, see
27:New Zealand composer (1941–2022)
1083:Pupils of Karlheinz Stockhausen
1063:New Zealand classical composers
420:The Emperor and the Nightingale
405:The Emperor and the Nightingale
143:The Emperor and the Nightingale
362:in 1968, and was performed in
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252:1997 Queen's Birthday Honours
962:National Library New Zealand
518:in December 1983 as part of
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1058:New Zealand women composers
998:Photo of Jenny McLeod, 1976
529:McLeod wrote many hymns in
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32:Jenny McLeod (playwright)
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1003:Recording of the opera
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279:Seven Tone Clock Pieces
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808:McLeod, Jenny (2011),
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356:Māori myth of creation
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429:The Yellow Fairy Book
371:in Auckland in 1971.
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163:Jennifer Helen McLeod
526:(Light of Lights").
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288:Before her death in
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196:McLeod was born in
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914:29 November
810:Liner notes
794:Liner notes
752:30 November
730:29 November
650:30 November
622:29 November
520:Summer City
496:Ngāti Rangi
447:Rock Sonata
329:Major works
310:Peter Schat
294:Pukerua Bay
233:Stockhausen
1042:Categories
937:Five Lines
591:0790001306
567:References
314:Tone Clock
198:Wellington
106:Occupation
82:Wellington
75:1941-11-12
888:18 August
862:18 August
836:18 August
831:NZ Herald
539:Whanganui
524:Indigo II
360:Masterton
192:Biography
638:"Births"
364:Tauranga
275:Messiaen
229:Messiaen
109:Composer
1024:Discogs
1013:at the
778:16 July
705:16 July
250:In the
1005:Hohepa
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483:Hōhepa
471:Hōhepa
465:Hōhepa
298:scales
277:. Her
202:Timaru
185:Hōhepa
153:(2012)
150:Hōhepa
145:(1986)
139:(1971)
133:(1968)
909:Stuff
857:Stuff
617:SOUNZ
531:Māori
498:iwi.
271:hymns
237:Berio
206:Levin
1033:IMDb
969:2022
944:2022
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864:2021
838:2021
812:for
796:for
780:2014
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586:ISBN
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456:AIDS
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