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A music-theatre work especially written for Wellington pianist Dan Poynton. Although referring indirectly to religious symbolism, the composition focuses on the physical and mental stress that pianists submit themselves to.

• Body: 14 Stations; computer-set 

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• Jack Body: 14 Stations 

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• Body: 14 Stations 

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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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The text for this work draws on ideas and images from a number of sources, ranging from contemporary poetry to the psalms of the bible. It is a son of celebration of the Earth and all its abundance. The initial form of the text was devised by Deirdre McOnie. The work is a joyous song of praise. More reflective music alternates with rhythmic writing. Throughout, the music makes much use of syncopation. “Celebrate the Earth” was originally written for an overseas competition whose theme was “A Celebration of Earth Day”. This revised and orchestrated version was written on a commission from Auckland Choral Society for their 2000 concert season. It was one of five choral fanfares commissioned for their subscription series. The concert for which this fanfare was written was to be a Bach 250th anniversary concert. the scoring is for Baroque orchestra including harpsichord and organ. Given the nature of the concert I couldn’t resist including a short reference to the BACH musical motive (B-flat – A – C – B natural in pitch terms). It appears in the brief organ solo towards the end of the work. “Celebrate the Earth!” is dedicated to the Auckland Choral Society and their conductor Peter Watts. Its commissioning was made possible by a grant from the Lottery Grants Board. The first performance took place on 24 March 2000 at Holy Trinity Cathedral, Auckland. This subsequent version for expanded orchestral forces, including jazz band instruments, was made for Youth arts 2000, a celebration of artistic performances by young people held in Wellington in August 2000. It was intended as a massed item at the end of the final concert, hence the inclusion of jazz bands in the scoring as well as a large orchestra.

• Hamilton: Celebrate the Earth (extended version); computer-set 

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• Hamilton: Celebrate the Earth; computer-set 

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• Hamilton: Celebrate the Earth; computer-set 

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• Hamilton: Celebrate the Earth; computer-set 

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• Celebrate the Earth 

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flute (doubles picc. and alto fl.); oboe (doubles cor anglais); B flat clarinet; horn in F; 1 percussion: marimba, vibraphone, bass drum, tam tam, sandpaper blocks and percussion cluster

“The boundary between collection and fetishism is mediated by classification and display in tension with accumulation and secrecy.” Two musical strands run virtually throughout this short piece, sometimes clearly differentiated, at other times more obscure and confused, but always at some level presenting an opposition between an ‘organic’, accretional layer and an ‘inorganic’ abruptly changing one. This opposition can operate not only at surface level – as it does at the beginning, when two highly differentiated instrumental combinations are presented, each with their own characteristic modes of behaviour – but also at a subcutaneous level, when applied to various ways of generating or modifying the basic material. These concerns form only the technical armature and implementation of the piece, of course, and much of the original musical imagery was suggested by Borges’ short story The Circular Ruins.

While giving the obligatory (questionable?) disclaimer about the piece in no way being programmatic, much of the mood and atmosphere of the story was certainly in my mind during the initial sketching stages, and it seems to me that its central conceit – one human dreaming another into existence, by sheer will – is a marvellous metaphor for the act of composition.

• Gardner: Fetish Effigies; computer-set 

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• Gardner: Fetish Effigies; computer-set  Year: 2005 

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• James Gardner: Selected Works 

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• Gardner: Charge and other works 

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• Waiteata Collection of New Zealand Music Vol. 8 - Chamber Music II  Year: 2005 

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• Clement: Fracture; computer 

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• Clement: Fracture 

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• Holmes: Invocation; computer set 

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• Holmes: Invocation  Year: 2000 

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2 fl. (both dbl picc.), 2 ob., 2 cl. (1 dbl E flat, 2 bsn; 4,3,3,1; timp., perc (3 players); solo tenor saxophone; drum kit; strings.

• Psathas: Saxophone Concerto; computer-set 

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• Psathas: Omnifenix; computer-set  Year: 2006 

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• John Psathas: Omnifenix (part 3 of 3); video 

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• John Psathas: Omnifenix (part 2 of 3); video 

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• John Psathas: Omnifenix (part 1 of 3); video 

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• Omnifenix (Part 2 of 3); Brecker; video 

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• Omnifenix (Part 1 of 3); Brecker; video 

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• Omnifenix (Part 3 of 3); Brecker; video 

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• John Psathas: Omnifenix 

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• John Psathas: View from Olympus (Three Concertos) 

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• Grenfell and Psathas: Works 

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• Psathas: Omnifenix (Saxophone Concerto) 

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• John Psathas: Various Works 

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alto flute, B flat clarinet

Poems of a Bright Moon for flute/alto flute, clarinet and piano was inspired by the Hsiang-Yang Songs of Li Po, an 8th-century Chinese poet of the T’ang Dynasty (ca.618-906 A.D.).

On a visit to New Mexico in the United States, the discovery of the poet William Carlos Williams and the art work of Georgia O’Keeffe led to the poetry of Li Po, which conjures up visions of mountains and rivers, also very much part of the New Mexico landscape. Li Po was something of a mischievous travelling minstrel and liked to indulge in the drink somewhat. A legend says that “while out drunk in a boat, he fell into a river and drowned trying to embrace the moon.”

The moon appears in over a third of his poems, and the opportunity to combine Li Po’s images of moonlight with the rich dark tones of the alto flute was irresistible. The individual titles of the movements of this piece come directly from the poems, and the music attempts to evoke the spirit of the titles: Hsien mountain rises above emerald Han river, On a moonlit night, a recluse plays his pale white ch’in and A pure ten-thousand-mile wind arrives.

Poems of a Bright Moon was commissioned by Ethos trio with funding assistance from Creative New Zealand.

• Grenfell: Poems of a Bright Moon; computer set 

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• Grenfell: Poems of a bright moon; computer-set 

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• Grenfell: Poems of a Bright Moon; computer set 

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• Poems of a Bright Moon 

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• Music by Maria Grenfell 

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• NZ Composers - Whitehead and Grenfell  

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• Poynton: Roimata; facsimile 

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• Poynton: Roimata; facsimile 

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• Premieres: Poynton, Ritchie, Whitehead 

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• Poynton and Wai Kapohe: Roimata   Year: 2000 

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2*2*2*2; 2221bass trom1; timp; perc (1 player); harp; strings

• Grenfell: Stealing Tutunui; computer-set 

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• Maria Grenfell: Selected Works 

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• Grenfell and Psathas: Works 

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• Landscapes: New Zealand Orchestral Music 

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• Maria Grenfell: Ceol na Fidhle and Stealing Tutunui 

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