Associate Professor Martin Lodge
Head of Composition
Qualifications: MMus (Well), MA (Waik), PhD (Syd)
Current administrative roles
* FASS Research Committee
* FASS Maori Achievement Planning Group
* Library representative for Music
News: Martin was a featured special guest on Radio New Zealand's afternoon Jessie Mulligan show on 8th August 2017. You can listen to the 40' interview free on Radio NZ podcast http://www.radionz.co.nz/national/programmes/afternoons/audio/201853972/composer-martin-lodge
Best known as a composer, Martin Lodge is also a scholar and commentator on music. In 1990 and again in 1991 Martin held the Mozart Fellowship at the University of Otago, New Zealand's longest established composer residency position. In 1993 he was composer in residence with the Auckland Philharmonia Orchestra, for whom he wrote Symphony No.1 'Flowers of the Sea'. He has also fulfilled commissions from the New Zealand Symphony Orchestra, and international performers such as William Dowdall (Ireland), Timothy Deighton (USA), Wolfgang Emanuel Schmidt (Germany) and the Polaris Quartet of Shanghai.
Being awarded the J.D. Stout Research Fellowship at Victoria University of Wellington in 1994 enabled him to conduct substantial research into the music and life of New Zealand composer Anthony Watson (1933-73). He is a contributor to the Oxford Music Online (Oxford University Press) and Musik in Geschichte und Gegenwart. He has been a member of the international advisory board of BRONZS, the British Review of New Zealand Studies (London), and served on the international advisory board of the CNZS Bulletin of New Zealand Studies (Birkbeck, University of London) and on the editorial board of Massey University Music Editions (Wellington, NZ). At present he is member of the editorial board for Promethean's University Editions music scores. In 2013 he won a Pah Homestead (Auckland) artist in residence award.
Martin was chair of Music from July 1999 to June 2002 and again from January 2012 to December 2014. Currently he is director of composition studies. His principal teaching areas are composition and studies in New Zealand music, and he leads a graduate course in music aesthetics. In 1997 he initiated an innovative course on New Zealand Music, which covers traditional Maori music and popular music as well as New Zealand composition in the classical Western tradition. He followed up this initiative by planning and leading the introduction of a complete stream of Maori music studies in the Waikato BMus degree. This unique option of music study, first offered in 2007, was developed in collaboration with colleagues in the University's School of Maori and Pacific Development, where the courses are taught.
He led the artistic design specifications of the acclaimed Gallagher Concert Chamber in the University of Waikato Academy of Performing Arts, (opened 2001). The hall is now widely regarded as a pre-eminent NZ venue for chamber music.
In 2016 the University officially received a magnificent fifty-piece collection of taonga puoro (traditional Maori instruments) that Martin commissioned from a team of makers led by the authoritative carver Brian Flintoff. Martin shares curation of the collection with tohunga (traditional expert) Horomona Horo, with whom he has also collaborated in creating new works that bring together Western classical and Maori classical instruments and musical forms.
Hinterland, a commissioned piece premiered by the Auckland Philharmonia Orchestra in March 1998 and subsequently broadcast by Radio NZ, evoked an exceptionally warm response from audience, players and critics alike. The New Zealand Symphony Orchestra opened its main 2001 season with Hinterland and on 3rd December 2001 Trust Records launched the CD Landscapes including this work played by the NZSO. The disc was nominated for Classical Album of the Year in the 2002 Tui Awards.
The virtuoso piece for solo viola Pacific Rock (2000) has been championed internationally by Timothy Deighton (USA) and a recording published on the Atoll CD Viola Aotearoa. Summer Music for piano trio was commissioned by the Ogen Trio to launch the 2002 Millenium Rotorua Chamber Music Festival. It premiered on 12 January 2002; a new studio recording of the work features on the recent (2008) Atoll CD Ahi by the Ogen Trio. The Auckland Philharmonia conducted by Werner Andreas Albert premiered the commissioned piece Aër in the Auckland Town Hall on 29 August 2002. In July 2003, US duo The Irrelevants premiered Ritual for alto saxophone & viola at the World Saxophone Congress in Minneapolis. Also in 2003, the innovative trio Toru for taonga puoro (traditional Māori instruments), cello and clarinet generated widespread interest. It was written for Richard Nunns, James Tennant and Peter Scholes and has been recorded and broadcast by Radio New Zealand. Plenum for organ was commissioned by the NZ Association of Organists and premiered in June 2004. The European premiere was given by Christopher Hainsworth in Montpellier Cathedral on 18 September 2005. The score is included in the anthology Organ Music by New Zealand Composers (ed. Apperley, Fagus Music, UK, 2004).
Martin was Chair of the Composers Advisory Panel to the Centre for New Zealand Music (SOUNZ) based in Wellington 1997-2003 and is co-founder and artistic co-ordinator of the contemporary performance ensemble Okta. He has a growing interest in computer applications to music performance and is a founding composer member of IMP, the interactive music project. His most recent multimedia project is 'Organ Music' involving sonification of data from medical sensors. This installation was created at the invitation of Distinguished Professor Peter Hunter, director of the MedTech Centre of Research Excellence at the University of Auckland's Bioengineering Institute. The installation ran 29 October to 6 November 2016 in Silo6, Wynyard Quarter on the Auckland waterfront.
On 15 December 2016 Martin's virtuoso composition for solo cello Omanu was recorded by Wolfgang Emanuel Schmidt at Teldex, one of Berlin's most respected recording studios. Then in January 2017 Omanu was performed by Andrei Ionita, winner of the cello division of the 2015 Tchaikovsky Competition, at the Universität der Künste, Berlin.
in April 2017 Martin was both a featured composer and executive producer of a recording of newly commissioned string quartets. The recordings were made by the Polaris Quartet in the group's hometown of Shanghai. Composers featured are Jia Daqun (China), Michael Daugherty (USA), Param Vir (UK/India), and Michael Williams and Martin Lodge (NZ). The CD will come out on the Atoll label later this year, produced by Wayne Laird.
Composition; Music; Music Technology; Musicology; New Zealand Music
Contemporary classical music and New Zealand classical/art music; aesthetics of music; cross-cultural conjoining of Western classical with Māori classical music; interdisciplinary death studies.
Scores - Promethean Editions (Wellington. International distribution by Peters Edition), Waiteata Music Editions (Wellington), Fagus Music (UK)
Recordings - Trust, Atoll, Ode/Manu, Maxwell Fernie Trust
Book chapters - Ashgate (Taylor & Francis), RILM New York, Steele Roberts
Scholarly articles - Oxford Music Online (Oxford University Press), Les cahiers du CICLaS (University of Paris), Musik in Geschichte und Gegenwart, Journal of New Zealand and Pacific Studies, British Review of New Zealand Studies, Canzona, Landfall
'The art of confluence'. Paper to be presented at the New Zealand Studies Association conference Contested Territories, Strasbourg 7-10 July 2017.
Current Composition Projects
- Spring Winds viola concerto commissioned by Timothy Deighton (USA). Texts by Vincent O'Sullivan
- Waiata Hou commissioned by Tessa Brinckman for flute + ensemble
Recent Composition Projects
- Streaming for string quartet. Written for and recorded by the Polaris Quartet of Shanghai, 17 April 2017
- Omanu for solo cello. Commissioned for Wolfgang Emanuel Schmidt for premiere during the 2016 Waikato International Cello Fest (August 2016)
- Ahunga for taonga puoro, violin, cello & piano. Commissioned by the NZ Chamber Soloists for a ceremony to welcome Te Kohinga nga Taonga Puoro collection of traditional Maori instruments to the University of Waikato (March 2016)
- Tauhara for saxophone and classical guitar. Commissioned by Duo Montagnard. First performed during the Laveck Concert Series, Pulaski Congregational Church, New York (2015)
- Enigmatic bagatelle no. 1 for clarinet and piano. Dr John Gallagher Concert Chamber, Academy of Performing Arts, University of Waikato (2015)
- Voces naturae I: locus iste multimedia work for live performers, live video mixing and live surround sound mixing (2010)
- Processional fanfare for University of Waikato graduation ceremonies. Scored for brass quintet. First heard on Te Kohinga Marama Marae, University of Waikato (2014)
- Pan Dreaming for solo flute. Written for William Dowdall. Dublin (2011)
- Oiche ghealai for alto flute and taonga puoro (2009)
- Winterlight for bassoon and orchestra. Commissioned by the New Zealand Symphony Orchestra. First performances with Preman Tilman soloist and the NZSO conducted by Julia Jones in Wellington (2008)
- sub rosa for oboe quintet. Written for, and first performed by, performance fellows of the Sydney Symphony Orchestra (2008)
- Cadenza from the Viola Concerto currently in progress, commissioned by Timothy Deighton. Cadenza premiered in Adelaide, Australia June 2007 and replayed in New York, Brazil, Panama etc. in 2008.
- After Dürer - music/dance/animation video made in collaboration with Daniel Belton and Jac Grenfell. Premiere screening at The Body festival of dance and physical theatre, Repertory Theatre, Christchurch, 6 October 2007.
After Dürer won the Prize for Most Innovative Work (Premio Opera Piu' Innovativa) at Il Coreografo Elettronico, the fifteenth international festival of video-dance held in Naples, Italy, in June 2008. A shortened cut of the video can be viewed on You Tube at http://www.youtube.com/watch?v=uWY7kiHMKLk
Recent Musicological Work
- 'Composing the End'. Paper presented at 'Death, Dying, and the Undead:
Contemporary Approaches and Practices' annual conference of the Australasian Death Studies Network, Noosa (2016)
- 'Music historiography as a braided river: the case of New Zealand', chapter in Critical Music Historiography ed. Kurkela and Mantere. Farnham: Ashgate, 2015, pp.95-106.
- 'Intersections and the creation of tradition in New Zealand music'. Paper presented at 20th Annual Conference of the New Zealand Studies Association: Across the Pacific. Conference held at Oslo, Norway (2014)
- 'Searches for musical identity in New Zealand'. Paper presented at 18th Annual Conference of the New Zealand Studies Association: New Zealand and Europe: Borders, Nations, Identities. Conference held at University of Gdansk, Poland (2012)
- 'Music historiography in New Zealand', chapter in Music's intellectual history ed. Blazekovic and Mackenzie. New York: Répertoire International de Littérature Musicale (RILM), 2009, pp.625-652.
- 'Put to music by Messiaen', short essay in French Footprints in New Zealand.Wellington: French Embassy to New Zealand, 2009.
- Convener of the annual conference of the New Zealand Musicological Association featuring a special seminar day on the work and life of composer Douglas Lilburn, 15-17 November 2008, University of Waikato.
- 'The drowned Dionysus: classicism and neoclassicism in New Zealand music'. Paper presented at the conference 'New Zealand and the Mediterranean', 4 July 2008, American University, Florence campus (Italy).
- Conjoint presentation with Richard Nunns and James Tennant of the paper and performance 'Hau: some issues of aesthetics and practicalities encountered when combining traditional Maori and Western concert music' at the conference Tradition/Transformation: composition and ethnomusicology in Asia and the Pacific during the 2007 Asia Pacific Festival. 9 February 2007 Wellington. Subsequently published as:
- 'Hau: reflections on some issues encountered when combining traditional Maori and Western concert music' Canzona 2007
- 'The John Mansfield Thomson Archive at the University of Waikato', co-authored with Phillippa Ulenberg Canzona 2007
- 25 November 2006 Wellington - presentation of the paper 'The Thomson-Page Correspondence, 1959-84' at Musicology '06, the 23rd annual conference of the New Zealand Musicological Society.
- 30 June 2006 Paris - presentation of the paper 'The French Influence on New Zealand Music' at the conference New Zealand, France and the Pacific held at the Université Paris Dauphine. This paper was subsequently published in Les Cahiers du CICLas no.8, Novembre 2006, pp.127-140.
- 23 June 2006 Bordeaux - presentation of the paper 'Violence in New Zealand Operas' at the journée d'etudes à l'Université de Bordeaux III.
- 'Voices of the Land: Richard Nunns in conversation with Martin Lodge'. Canzona 2006, vol. 27 no. 48 pp.65-69
- July 2005 Hamburg - presentation of an invited guest lecture on recent developments in New Zealand music, including his own latest work, at the Hochschule für Musik und Theater, Hamburg.
- John Mansfield Thomson: notes towards a biography. Edited by Margaret Clark, with Jim Collinge and Martin Lodge. Steele Roberts 2003.
- Pacific Rock - performing edition, Waiteata Music Press 2005 no.2 ISBN 0-877381-04-7.
Lodge, M. (2016). [Review of A search for tradition & a search for a language by Douglas Lilburn]. Journal of Pacific and New Zealand Studies, 4(1), 103-105. doi:10.1386/nzps.4.1.71_5 Open Access version: hdl:10289/10556
Lodge, M. (2016). Omanu [for solo cello (7mins)]. Waikato International Cello Festival, Gallagher Academy of Performing Arts, University of Waikato, Hamilton, New Zealand.
Lodge, M. (2016). Ahunga [for taonga puroro, piano, violin and cello (7min30)]. Te Whare Tapere Iti, Gallagher Academy of Performing Arts, University of Waikato, Hamilton, New Zealand.
Lodge, M. V. (2015). Martin Lodge: Works for cello solo and duo (2001-2011) [Solo cello, two cellos (22:15mins)]. Wellington, New Zealand: Promethean Editions Limited.
Current doctoral supervisions include projects on composition, cross-cultural composition, New Zealand music history, and composition/performance praxis and context in the work of a selected composer-performer.
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