Selected Chamber 2

Selected Orchestral & Concerti

Selected Chamber

Selected Music Theatre

for modified chamber orchestra
dedicated to Peter Sculthorpe
published by Faber Music
Stephen Drury, conductor; Callithumpian Consort

Firestick (1998-99) ~ 1. Destruction

for modified chamber orchestra
dedicated to Peter Sculthorpe
published by Faber Music
Stephen Drury, conductor; Callithumpian Consort


Firestick (1998-99) ~ 2. Desolation - Rejuvenation

A Bellow-Drama in Seven Acts for mezzo soprano, baritone, clarinet(s), percussion and piano
Jenny Duck Chong, mezzo soprano; Simon Lobelson, baritone


The Mysterious Demise of One Brody-Marie (2000-01) ~ I. Prologue

The Mysterious Demise of One Brody-Marie (2000-01) ~ III. Witness II

The Mysterious Demise of One Brody-Marie (2000-01) ~ V. Witness V

A Bellow-Drama in Seven Acts for mezzo soprano, baritone, clarinet(s), percussion and piano
Jenny Duck Chong, mezzo soprano; Simon Lobelson, baritone



The Mysterious Demise of One Brody-Marie (2000-01) ~ VI. Witness VI

Dolmen for New Albion (2004)

for orchestra
commissioned by Richard Gill
Richard Gill, conductor; Sydney Symphony Sinfonia


Three Scenes from Suburbia (2006, 2008) ~ II.

for soprano, baritone, chorus & orchestra
Alison Morgan, soprano; Philip Pratt, baritone; Combined MLC-Trinity Orchestra & Chorus; Richard Gill, conductor


Future (2000)

Terraformation (1999) ~ I. Soletta (Prelude & Double Canon)

Terraformation (1999) ~ II. Windmill (Scherzo)

for alto flute/ piccolo & violin
Jessi Rosinski, alto flute/ piccolo; Ethan Wood, violin

Obsidian Magnified (2011)

A Chamber Opera in Seven Tableaux for soprano, mezzo soprano, tenor, baritone, bass, two keyboardists and electronics
ChamberMade Opera

The Hive (2003-04) ~ Tableau IV

A Morality Play in Four Ordeals
for soprano, male soprano, contralto,
baritone, Bb/bass clarinet, soprano/alto saxophone, tenor trombone, percussion and electronics
Guerilla Opera

Loose, Wet, Perforated (2009-10) ~ Ordeal III  ~ Part 1 (excerpt), Part 2, Part 3 (excerpt)

A Morality Play in Four Ordeals
for soprano, male soprano, contralto,
baritone, Bb/bass clarinet, soprano/alto saxophone, tenor trombone, percussion and electronics
Guerilla Opera


Loose, Wet, Perforated (2009-10) ~ Ordeal IV Part 2 (excerpt), Revelation, Transformation

A Farcical Opera or Operatic Farce (2003)
for soprano, tenor, baritone, bass-baritone and chamber ensemble.
Harvard Radcliffe Contemporary Music Ensemble

The Sepulchre of Love or The Problematical Question of Invowment (2003) ~ Act II (excerpt)

Rustling The Deities (2012-13) ~ I

Rustling The Deities (2012-13) ~ II

Rustling The Deities (2012-13) ~ III

O'Connell's Pig (2010)

ten dead species for sinfonietta
Australian Youth Orchestra Momentum Ensemble; Christoph Altstaedt, conductor

A Mega Masquerade (2023) ~ complete

XVI. Thylacine's Lament (Tasmanian Tiger)

III. Ravenous Rainbow (Giant Serpent)

XV. Nuggety Chicken Runs (Giant Malleefowl)

for flute/piccolo & virtual ensemble
Harvey Abrahams, flute/piccolo

Mingling Sunburst Minds (2023)

Ghost Rails (2021)

for tenor trombone & pipe organ
Kye Milne, trombone
Peter Taurian, organ

DubStop UnderDrive (2017)

for boy soprano & mixed ensemble
William Drury, soprano
Callithumpian Consort

In Defence Of Toads (2016)

The Law Of The Tongue (2016)

Doing The Suss & Sassy Sway (2014)

Dysart's Changelings (2014)

for clarinet, bass clarinet & virtual ensemble

commissioned by Georgina Oakes & Anna Koch

Performance: Georgina Oakes, Anna Koch, Sydney Grammar School, NSW, Australia; 3 April 2024

Ye Mardy Pipers Of Georgianna

for faux court orchestra
Ensemble Apex; Sam Weller, conductor

sync_for_me 1: Gothick Yarns, Motley Ridotto & Sweet, Sweet Syllabub (2017-18)

Contemporary classical composer
Check out www.nicholasvines.com for more information; CD available from http://www.navonarecords.com/catalog/nv5915/

Nicholas Vines’s compositional approach is firmly rooted in the technical resources of the Western classical canon, from plainsong and sixteenth-century counterpoint to recent advances in instrumental technique and electroacoustic technology. At the same time, every opportunity is taken to embrace sounds and ideas from an array of popular, experimental, Australian and non-Western traditions. This combination of rigour and pluralism – stemming from the composer's own heritage, his wide-ranging interests and the communities in which he lives and works - gives rise to music at once vectored and kaleidoscopic. Nostalgia, satire and farce often result from the inherent friction.

At their best, Nicholas Vines’ compositions evoke a sense of naïve idealism at loggerheads - for better or worse - with the realities of the world. Sometimes the music loses itself in innocent physicality or elaborate fantasy, doggedly avoiding the tendrils of cold, hard fact. Often, however, it can’t escape, leading to various states of self-denial, self-mockery, decay and decadence. This on occasion can make the listening experience uncomfortable, even frustrating. Nevertheless, it is hoped through such intellectual and psychological challenge, the music's essential moral and visceral beauty becomes all the more poignant.

Nicholas Vines

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