This set of works is published as a saddle-stitched performance score booklet for performance and study. The scores in the Collected Edition are based on Pruden's underlying autograph or holograph manuscripts, which have been consulted extensively throughout the editorial process. Comparison has been made to all extant forms of each title, published and unpublished. In some cases, several variants exist, and the goal has been to determine as far as possible the composer's final intention and to convey this comprehensively in the published score. Emendations have been made to account for the composer's revisions and for certain errors and inconsistencies, and each volume includes a short commentary and editorial notes on the source materials.
This volume includes:
About the volume:
Over the span of his composing career, Larry Carrol Pruden (1925-82) completed some 60 works, including music for piano, chamber ensemble, orchestra, stage and film. The scope of the ten-volume Collected Edition incorporates every work that the composer is known to have considered complete, and a very few incomplete works which the editors felt warranted inclusion. The works in the latter category are either virtually complete or have been deemed worthy of inclusion due to the significance that the composer is known to have attached to them.
Throughout Pruden's output, whether the music is modest in scale and purely functional (civic fanfares and radio advertising jingles, for example) or more extended and overtly 'serious' in tone (such as the larger works for orchestra and strings), his vivid response to urban society and rural life in New Zealand is revealed. With Douglas Lilburn, John Ritchie and others, Larry Pruden belongs to the earliest generation of New Zealand composers to discover a genuine vernacular, and in his music is reflected the trail-blazing spirit of the pioneers, their passion for creativity and their rebelliousness of spirit.
Larry Pruden was a talented pianist. Margaret Nielsen remembers him improvising in a popular idiom at Douglas Lilburn's one evening: 'He was stunningly good, playing with flair and taste, with stylish blues harmonies.' The variety and spontaneity of Pruden's pianism is music is endorsed by Penny Pruden: 'He had an impressive range, from Chopin to popular and film music, including [Addinsell's] Warsaw Concerto which he'd rattle off in a moment at a party.'