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• Lilburn: Complete Piano Music Edition Vol. 2; computer-set  Year: 2012 

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• Douglas Lilburn: Complete Piano Music Volume 1  Year: 2004 

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It is impossible not to feel inspired when playing some of Bach’s 48 Preludes and Fugues, Chopin’s 24 Preludes, Debussy’s two books of preludes, or Shostakovich’s 24 Preludes and Fugues. As a composer I wanted to make a small mark of respect to these greats with some dedications. I have also taken a cue from Bach and Shostakovich and included contrapuntal forms within these preludes. While not wanting to restrict myself to the form of a fugue, there are several preludes which are close in spirit to fugues: Nos.17 and 19 for instance, are what I would call my ‘prelugues’. There is also a passacaglia (No.16) which owes a debt to Shostakovich. I have conceived these pieces as a unified whole. Within them I have attempted to cover a whole variety of characters and moods, from the improvisational and experimental to the lyrical and gentle, from the wild and gestural to the calm and peaceful, from the quirky and ‘black’ to the light and sunny, from the depressive to the resolved. The extensive technical planning and preparation behind these pieces has been fun for me as the composer, but in the end it is the sound and musical expression that matters. I would like to think this voyage of discovery has led to something new and interesting to listen to.

• Ritchie A.: 24 Preludes; Computer Set 

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• Ritchie A: Twenty-four Preludes; computer-set 

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• Anthony Ritchie: Piano Preludes  Year: 2004 

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400 Roncesvalles Avenue is the address of the Revue Cinema, a historic movie-house in a historic area of Toronto, Canada. The way to approach the theatre from downtown is to take the subway eastbound to Dundas West station and from there to take a streetcar to the theatre. These are depicted at the beginning, in the middle and at the end of the piece. The third and fourth section of this work also quote fairly extensively from the Adagio movement of Bruckner’s 8th symphony. The reason for this is that it was while I was resident in Toronto that I became familiar with and recognised the genius of this composer. I regret to say that I have no recollections of ever seeing any interesting films at the Revue Cinema. It is dedicated to Salvatore Martirano, who expressed a liking for the piece.

• Davidson: Etudes Book II - A Ragtime Odyssey; facsimile 

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• Davidson: Etudes Book II - A Ragtime Odyssey; facsimile 

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• Davidson: The Graceful Ghost: Contemporary Piano Rags 

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• Davidson: Voodoo Queen - Piano Rags, Jazz and Blues 

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• Daverne: Music for Accordion; computer-set  Year: 2006 

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• Gary Daverne: Accordion Concert Music 

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• Wells: A New Zealand Suite; computer set 

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• John Wells: From the Land of the Long White Cloud  Year: 1991 

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Acquerello (watercolour) revolves around two quiet and contrasting ideas – one slow, one fast. The principal idea is a slow and highly ornamented descending line. Sometimes the line is stripped of all ornamentation and moves instead in chords. Three times this is interrupted with a short, fast refrain.

Acquerello was wriiten in 1998

• Cresswell: Acquerello; computer-set 

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• Cresswell: Acquerello; computer-set 

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• Lyell Cresswell: Acquerello; audio 

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• Lyell Cresswell: Anake and other works  Year: 2000 

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These three pieces for solo piano were commissioned by pianist Michael Houstoun. Each is concerned with aspects of deja vu or ‘second sight’ including sensations of past lives, strangely familiar places and the cyclical nature of experience. The second of these pieces is published by SOUNZ in First XV.

• Blake: Ancient Journeys; facsimile 

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• First Fifteen - a selection of piano music by NZ composers  Year: 1996 

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• Michael Houstoun - Elusive Dreams  Year: 1996 

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• Christopher Blake: Ribbonwood is Home  Year: 1998 

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The tension between the piano’s percussive mechanism and the fluidity of water has borne fruit in countless works for piano: from Ravel’s Ondine and Chopin’s Raindrop Prelude, to Schubert’s Am Meer. Not coincidentally, these works were among those played by my grandmother as silent film “scores” in the small New Zealand town of Takaka. In Aquamarine watery fragments from the musical past refract and reflect.

• Palmer: Aquamarine; computer set 

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• Palmer: Aquamarine; computer set 

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• Music by Juliet Palmer I 

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Aquarius One is loosely based on the theme “Aquarius” from the musical Hair.

• Becker: Aquarius I; facsimile 

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• Pepe Becker: Many Waters  Year: 2000 

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• Baroque Voices: Brother Sun, Sister Moon  Year: 2011 

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Arabesque was originally composed, as a commissioned work, for Sarah Langley, principal accordionist with the Air New Zealand Accordion Orchestra. She premiered this work in Auckland, June 1991 at the New Zealand Accordion Championships. Sarah was New Zealand solo accordion champion in 1991 This work was later arranged for piano.

• Daverne: Music for Accordion; computer-set  Year: 2006 

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• Gary Daverne: Accordion Concert Music 

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