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• Rimmer: Composition 10; facsimile 

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• Rimmer: Electronic Sounds for Compositions 6-10 

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• Rimmer: Composition 8; facsimile  Year: 1974 

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• Rimmer: Electronic Sounds for Compositions 6-10 

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• Besser: Duo for violin and piano; facsimile 

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• Jonathan Besser: Duo for Violin and Piano; audio 

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• Jonathan Besser: Duo for Violin and Piano 

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• Lilburn: Duos for Two Violins; facsimile 

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• Strung - A Collection of String Music 

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• Instrumental Music: Douglas Lilburn 

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• Lilburn: Duos for two violins  Year: 1981 

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• Douglas Lilburn: Master Works for Strings  Year: 2011 

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Both movements of this work began as transcriptions of recorded performances by two of Greece’s living master-musicians, clarino player Manos Achalinotopoulos and percussionist Vagelis Karypis. The Transcriptions are based on two separate recordings of a traditional taximi entitled Kartsigar. Taximia form part of an oral tradition in which improvisation played an important role. Songs would begin with an instrumental prelude, the taximi, where a musican showed off his prowess. This set the mood for the song to follow, and could last for as long as twenty minutes.

The taximi Kartsigar comprises two elements, an ostinato and the improvised melody. The melody forms the basis of the first movement of the quartet, and the ostinato forms the basis of the second.

• John Psathas: Kartsigar - hardcopy score & parts 

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• John Psathas: Kartsigar; (part 1 of 2) video 

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• John Psathas: Kartsigar; (part 2 of 2) video 

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• New Zealand Selection 2 

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• John Psathas: Kartsigar  Year: 2005 

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• John Psathas: Helix  Year: 2011 

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In this work, inspired by Paekakariki on the Kapiti Coast – ‘home’ during the composer’s six-week residency at Victoria University in 1989 – the relationship between music and environment is particularly strong. The cello’s low repeated D, which opens the piece, is the fundamental pitch heard in the sea and the restless semi-quavers evoke the continuous movement of waves crashing on the Paekakariki shore. Whitehead’s fascination with medieval philosophy and music, incorporating concepts of natural cycles, is reflected both in the title and in the compositional process, where magic squares were used to generate the background structure.
(Programme note by Emma Carle and Jack Body).

“This is a rich evocative piece that is never merely picturesque, as the title might suggest. It has a lyrical complexity reminiscent of Tippett… (it) achieves moments of great beauty.” (Tim Bridgewater, The Dominion).

“The highlight for me was the premiere of Gillian Whitehead’s Moon Tides, and Shoreline. … Perhaps there are marine associations to be heard in the score, but, more importantly, one appreciates the work’s cool and eminently logical form. The various musical motifs are inventive in themselves and intriguingly handled.” (William Dart, Music in New Zealand)

• Whitehead: Moon, Tides and Shoreline; facsimile 

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• Whitehead: Moon, Tides and Shoreline; computer-set 

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• Gillian Whitehead: Various Works 

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• Waiteata Collection of New Zealand Music Vol. 3 - Composer Portrait: Gillian Whitehead  Year: 2000 

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In this work, the first movement uses two Basque melodies (one of which is a Basque lullaby whose text contains only Basque nonsense words) for the first group and a “Bulgarianized” version of a Hungarian folk melody for the second in this short sonata form. The second movement is an arrangement of a 14th century melody by Guillaume de Machault, and the last owes something to Scandinavian folk music (the obscure title refers to a favorite Finnish dill-infused salad dressing that I like to make on occasion).

Music for Viola and Piano is dedicated to Rudolf Haken, Rachel Jensen, and my counterpoint teacher, Jack Melby.

• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; facsimile 

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• Talencourt  Year: 2008 

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Persephone is an abstract work for String Quartet. While the piece is not programmatic, the title did influence the piece, effecting the mood and the musical material.


Persephone was the daughter of Demeter and Zeus in classical Mythology. Hades abducted her and took her back with him to the underworld. As a result, Demeter, the goddess of the Earth, became so upset that plants stopped growing as she searched everywhere for her lost daughter. To stop Earth from dying, Zeus forced Hades to return Persephone. However, Hades tricked her into eating pomegranate seeds, which forced her to return to the underworld for a season each year. As a result, for four months each year, Persephone returned to the underworld and the earth became barren.


The piece begins with a number of different musical fragments which are developed and integrated throughout the piece and interspliced with a number of other sections. The conceptual images of moving between two different worlds evoked swirling chromatic semiquaver sections and the sense of viewing the world from another place added to the sense of distortion and fragmentation which is a feature of the work.

• Adams: Persephone; computer-set 

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• Adams: Persephone; computer-set 

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• Adams: Persephone; computer-set 

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• Adams: Persephone; computer-set 

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• Chris Adams: Persephone 

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The Violin Sonatina and the later orchestrated version, the Concertino, was composed over many years from 1962 to 1984. The piece is a favorite of the composer’s. It explores the wonderfully expressive nature of the violin.

• Twomey: Sonatina for violin and piano (opus 10b); computer-set 

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• Twomey: Sonatina for violin and piano (opus 10b); computer-set 

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• Twomey: Sonatina for violin and piano (opus 10b); computer-set 

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• Twomey: Sonatina; computer-set 

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• Reflections - Music Composed by Ray Twomey 

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• A New Dawning  Year: 1999 

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Stradivariazioni is a theme and variations, with each variation cast in the form of a character piece. Instead of a single theme, three themes—or “ciphers”—are presented in the ‘Tema (con amici)’ (Theme (with friends)). A musical cipher translates letters of the alphabet into musical notes which are then represented as melodies (or harmonies). The B–A–C–H cipher (Bb, A, C and B-natural in German usage) first used by Bach himself, is perhaps the most famous. The three ciphers in Stradivariazioni are derived from the surnames of those who inspired the piece: Antonio Stradivari, Martin Riseley and Diedre Irons. Throughout the work the ciphers are manipulated and appear in varying permutations. Though not always immediately recognisable, the assorted combinations of the ciphers provide a sense of coherence and intimate relationship between the five variations.

The individual variations encompass the names of actual Stradivarius violins which are still in existence today. In each variation I have attempted to capture the essence of either the physical attributes (the colour of the varnish, individual details of scrollwork and sound quality, for example) or the given name and historical background of the violin.

• Stephan Prock: Stradivariazioni - hardcopy score & parts  Year: 2012 

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• Martin Riseley & Diedre Irons: Stradivariazioni  Year: 2011 

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