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• Speak: Arabesques; computer-set 

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• Waiteata Collection of New Zealand Music Vol. 7 - Emerging Composers  Year: 2003 

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Bright Silence, for solo violin, is an evocation of Central Otago, the high plateau between the Southern Alps and the coastal plains in the South Island of New Zealand. The area is treeless, rocky, sparsely populated, and the piece reflects the sounds, silences and ghosts of the area.

Bright Silence was written while Gillian Whitehead was composer-in-residence with the Auckland Philharmonia, as the solo violin competition piece for the inaugural Michael Hill World Violin Competition (now the Michael Hill International Violin Competition) held at Queenstown, New Zealand, where it received its first eighteen performances in June 2001. The piece is dedicated to Michael Hill.

• Whitehead: Bright Silence; computer-set 

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• Whitehead: Bright Silence; computer-set 

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• Premieres: Poynton, Ritchie, Whitehead 

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• NZIAF: Gillian Whitehead Portrait; part 1 

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• NZ Women Composers Vol. 3 

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• Whitehead: Bright Silence 

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• Whitehead: Bright Silence  Year: 2002 

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• Waiteata Collection of New Zealand Music Vol. 11 - Chamber Music III  Year: 2010 

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Written over 1,000 years ago by Murasaki Shikibu, the noval, The Tale of Genfi, has continuously captured imaginations through different media including movies, plays, dance, Kabuki, opera and manga (comic books). The story is full of musical references. Genji, himself, plays the wagon, a six-stringed koto considered old-fashioned in the story, while the key women in his life play the kin, a seven-stringed, unfretted koto from China. Several modes are mentioned including the richi (ryo) and ritsu modes, to indicate a change of mood. Poems which have constant role in special conversations are described as tanka (short song), waka (long song) or simply uta (song). The novel is also infused with luscious descriptions of the clothes being worn, both colour – in particular greys and many shades of red – and the texture of the fabrics.

Many of these musical and non-musical elements are drawn into Genji (the Shining Prince) and the Koto Player for violin and piano. The work has three parts – “Tuning”, “Uta” and “Manga”. “Tuning” adopts some characteristics of koto playing and tuning plus distinctive figures from other traditional Japanese musics; “Uta” introduces the old modes of richi and ritsu in a lyrical style; and “Monga” transforms the musical shapes of the previous section info a fast, driving manga style movement using modern Japanese scales. Genji is dedicated to james Cuddeford (violin) and Zubin Kanga (piano) who gave the work its first performance at the Creative Explosion in the West on 22 October, 2009 at the University of Western Sydney.

Diana Blom

• Blom: Genji (the Shining Prince) and the Koto Player; computer-set 

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• Blom: Genji (the Shining Prince) and the Koto Player; computer-set  Year: 2010 

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• Diana Blom: Genji (the Shining Prince) and the Koto Player 

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• Creative Explosion  Year: 2009 

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Questioning the mountain was written in June 2008, immediately after the devastating earthquake in my home region of Sichuan.

The piece is a meditation on the tragic event and a nostalgic offering to my motherland. Its slow and procession-like unfolding suggests some kind of ritual, at once sombre and graceful.

A fragment from the Sichuan folksong On the High Mountains becomes a recurring motif, like an unanswered question, which at the end transforms into a repeating bass line which gives the foundation to flourishing melisma in the high register on the piano.

Gao Ping

• Gao: Questioning the mountain; computer-set 

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• Gao: Questioning the mountain; computer-set 

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• Gao: Questioning the mountain; computer-set 

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• Waiteata Collection of New Zealand Music Vol. 11 - Chamber Music III  Year: 2010 

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‘Violaceous’ is an escape from tonality to the land of surrealism: a beautiful place of aural obscurity where serial and tonal elements are combined. The piece is predominantly serial, in four sections. The first section has two contrasting characters, the first is light and carefree while the second is reflective and emotional. They introduce two important motives. The first motive appears in the first six notes, it is a gesture that appears throughout the work in various disguises. The second is the minor second interval that dominates the latter part of the work. The second section is quirky and fun. It develops the grace notes and flourishes of the opening. The third section has the reflective character from the opening section. It gradually increases in tension until it reaches the fourth section, where the piece ends with the unleashing of a wild dance that frees itself by abandoning its rigid serial structure.

• Toan: Violaceous; computer-set 

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• Toan: Violaceous; computer-set 

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• Toan: Violaceous  Year: 2005 

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