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Flute Quintet was composed as the major work for my Honours project in Composition. While some of the movements are programmatic, others have no program whatsoever attached to them.

• McKenzie: Flute Quintet; computer-set 

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• McKenzie: Flute Quintet; computer-set 

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• McKenzie: Flute Quintet; computer 

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• Music by Lachlan McKenzie 

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• Psathas: Helix; computer-set 

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• John Psathas: Helix  Year: 2011 

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Hineputehue translates literally as the woman of the sound of the gourd, and she is the Maori goddess of peace. The work was written in 2001, at the time of President Bush’s State of the Union address shortly before the invasion of Afghanistan, and suggests the fragility rather than the celebration of peace, particularly in a pre-European environment.

A number of instruments used in Hineputehue are made of gourds – the gourd, which carried food and water, is a symbol of peace. These include the poi awiowhio, a very quiet bird lure which is swung around the head, the tiny koauau ponga ihu or noseflute which ends the piece, the hue puru hau, a large gourd which is blown across its top opening and the gourd rattles played by the quartet. Two other wind instruments frequently made from gourds, the nguru and the ororuarangi, are also used. Other instruments are the putatara or conch shell trumpet, traditionally used for signalling, the pu kaea or war trumpet, a nguru niho paraoa or flute made from a whale’s tooth, the pumotomoto, associated with birth, and tumutumu (tapped percussion).

There is a similarity between the stringed instruments of the quartet and the gourds, in that they are made from plant material, with sound emitted through sound holes. Another link is the ku, the only stringed instrument known to Maori, which is a small musical bow played like a jaws harp (jews harp) using the mouth as a resonating chamber. The idea of ororuarangi, which can be translated as spirit voice (or double stopping in a different context) has had some influence on this piece as in the parallel movement of the strings.

• Whitehead: Hineputehue; computer-set 

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• Whitehead: Hineputehue; computer set 

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• Whitehead: Hineputehue; computer set 

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• NZIAF: Gillian Whitehead Portrait; part 2 

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• Whitehead: Bright Silence  Year: 2002 

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• Gillian Whitehead: Puhake ki te rangi  Year: 2007 

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• decadence - celebrating 10 years of Besser and Bravura 

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• Jonathan Besser: Mr. Darwin's Dances  Year: 1999 

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One winter morning, a short walk from the marae at Waihi, on the southern shore of Lake Taupo, I stood on the shore to watch the sun rise. Behind me, a waterfall lead to a small stream that flowed into the lake, imposing its own patterns on those of the lake. The water was uniformly grey, but as the sun rose, for a moment the tops of the ripples were golden, with darker valleys between, before the whole area was flooded with light. So the ideas behind this trio have to do with the changing perspectives of patterns in water – in the bubbling of streams, the tumble of a waterfall, in the spiralling eddies where stream meets lake at sunrise.

In the opening movement, a group of short themes and ideas initially form a mosaic-like section, which recurs in developed and varied forms around more reflective passages. The second movement reverses the first, in that slow, sustained sections are interrupted by more energetic material, and the final movement draws all the previous ideas together.

• Whitehead: Piano Trio; computer-set 

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• Whitehead: Piano Trio; computer set 

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• Whitehead: Piano Trio; computer-set 

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• NZTrio: bright tide moving between  Year: 2008 

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Shuo Shu Ren or The Storyteller, was inspired by my childhood memories of listening to folk stories. Folklore and the oral tradition were very much a part of people’s lives before television invaded China in the 1980s. In the period in which I grew up, there were regular power cuts in the evening, and neighbours always came together to share stories in the dark. The stories never seemed to run out. We visited the cha guans (tea-house) where tea was served and fantastic tales would be spun by expert story-tellers. Often I would run home from school to catch the late afternoon broadcast of a particular story-teller’s account of some epic tale, usually based on a classical novel in a historical setting. This was before my family owned a television set, and the memories of these joyful moments are as vivid now as 25 years ago. My interest in storytelling never subsided. From a composer’s perspective, the theatrical characteristics of Chinese story-telling, which range from shouting and vocalizing to intense facial expressions and body movements, are extremely seductive and lead naturally to almost operatic ideas. I have always thought of myself as a story-teller of sorts, but in place of words I use music. In Shuo Shu Ren, the communal stories that a story-teller shares, are interwoven with the personal narratives of the individual. Blurring the boundaries between myth and reality, this work exists within the space of a “third reality”. In the epilogue to the piece, as the stories come to a close, what remains is the theme of the story-teller who sighs in desolation while fragments of stories flash by, ephemeral as light.

Shuo Shu Ren was commissioned by the Zurich-based Ensemble Pyramide who gave its first performance in January 2002. I dedicate this work to my dear friend, the flautist Markus Bronnimann, without whom this work would never have come into being.

Gao Ping, from Gao Ping, Chamber Music , NAXOS

• Gao: Shuo Shu Ren - The Storyteller; computer-set 

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• Gao: Shuo Shu Ren - The Storyteller; computer-set 

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• Gao Ping: Chamber Music  Year: 2006 

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• Statham: Suite for Flute and String Quartet; computer-set 

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• Statham: Suite for Flute and String Quartet 

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• Keith Statham: Suite for Flute and String Quartet; audio 

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• In Retrospect - Quintets, Quartets and Trios by Keith Statham 

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• Keith Statham: ...of wine and roses  Year: 2011 

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• Phil Dadson: Sound Tracks - solo improvisations  Year: 2004 

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• Dixon: Trio; computer set  Year: 2004 

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• Dixon: Trio; computer set  Year: 2004 

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• Works by Hugh Dixon 

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These tunes can be played on any instrument (e.g. violin, flute) with accompaniment of chords on guitar or piano. They are played in Celtic fashion, that is, the tunes have a cyclical nature and can be repeated as many times as desired.

• Prosser: Wee Happy and the Lounge Bears; computer-set 

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• Prosser: Wee Happy and the Lounge Bears; computer set 

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• Wee Happy and the Lounge Bears  Year: 2001 

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• Prosser and Seymour: Camden Mews NW   Year: 2006 

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