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This “reverse theme and variations” was realized in Studio B of the Experimental Music Studiols at University of Illinois, Urbana, USA. Distorted beyond recognition, and then increased in speed to the point of white noise, the “theme” or sound source is revealed in the final moments. And, as should be the case, John Barrymore has the last word.

• Stolen Music - New Compositions by Matthew Davidson  

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• Stolen Music - Chamber and Electronic Music by Matthew Davidson  Year: 1996 

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• John Rimmer: Fleeting Images  Year: 1993 

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• Ross Harris: Harmonicity 

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• Ross Harris: Inner Worlds  Year: 1993 

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In He Gives What He Likes, I explore musical ideas I heard in mbira music. He Gives What He Likes was composed for Columbia University’s Music Department’s centennial celebrations in 1996/97. The material is derived from a soundtrack I composed for a Theatre at Large production of King Lear in New Zealand August 1996. It is also featured in an hour-long tape piece for Pina Bausch’s dance company at the Folkwang Hochschulle in Essen in 1998. He Gives What He Likes was realized at the Composition Studios at Auckland University and at the Computer Music Center at Columbia University in New York City.

I think of computer technology finessing a special relationship between a composer and his or her music through the privilege of being able to create a performance. In He Gives What He Likes, I let myself be seduced by performance impossibilities, while at the same time hoping to express musical ideas — especially those I heard in mbira music — that would seem evocative of an actual performance. He Gives What He Likes was composed for Columbia University’s Music Department’s centennial celebrations in 1996. The material is derived from a soundtrack I composed for a production of King Lear in New Zealand August 1996.

Matthew Suttor

• New Zealand Sonic Art 2000  Year: 2000 

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The water sounds for Mosaic were collected by the composer from Paekakariki on the Kapiti Coast of New Zealand and from Örö in Sweden. They are transformed into their electronic equivalents and juxtaposed with a slowly evolving pitch structure.

• Ross Harris: Mosaic (Water)  

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• Ross Harris: Inner Worlds  Year: 1993 

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• Sound Barrier  Year: 2006 

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This electroacoustic work mixes field recordings from churches and places of worship in and around Wellington City, in a celebration of New Zealand’s ethnic and cultural diversity. Commissioned by West German Radio and issued on cassette by Asia-Pacific Archive, School of Music, Victoria University of Wellington.

• Sacred and Profane: compositions for voices by Jack Body  Year: 1975 

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• fast forward 1998: dance in education  Year: 1998 

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