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• Biddington: Autumn Music; facsimile 

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• Eric Biddington: Tunes and Airs  Year: 1998 

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In writing this piece I was influenced by the concept of differing perspectives of time and also by Berio’s Sequenzas. I have tried to incorporate his idea of creating a polyphonic type of listening through the use of contrasting motifs, textures and tempi. The title for the work came during the writing process and led the piece to be slightly programmatic. According to Maori legend, Pania is a sea-goddess who ventured onto land only at night. There she met a man who later became her husband and together the couple bore a son. Wishing his family wouldn’t return to the sea with every sunrise, the husband cast a spell on the pair. The spell however, had the opposite effect. Pania and the boy returned to the sea forever where she became a reef, lying with her arms outstretched towards her husband.

• Morgan: Pania; computer set 

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• Morgan: Pania; computer-set 

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• Works by Rachael Morgan 

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• Statham: Pastorale; computer-set 

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• Statham: Pastorale; computer-set 

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• Statham: Pastorale; computer-set 

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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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This is a short, tonal, romantic and somewhat wistful piece very much in the style and musical language of English composers of the 1940s and 50s.

• Statham: Romance No. 1; computer-set 

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• Statham: Romance No. 1; computer-set 

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• Statham: Romance No. 1; computer-set 

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• Keith Statham: Romance No.1; 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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• Biddington: Suite for Violin and Piano; facsimile 

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• Biddington: Suite for violin and piano; facsimile 

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• Eric Biddington: Tunes and Airs  Year: 1998 

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Transylvanian Dances was commissioned by The Jade String Quartet (Miranda Adams, William Hanfling, Robert Ashworth, Claudia Price) for their Arts on Tour series of concerts, October 5-28, 2007. The piece was funded as part of the composer’s work at the University of Otago.


Transylvanian Dances is based on two folk tunes that appear on the album The Lost Jewish Music of Transylvania (HNCD 1373), by the Hungarian group Muzsikas. These folk tunes were well known to Jewish communities in Transylavania before the Second World War but were lost following the holocaust. In the 1990s, Muzsikas combined forces with two old Gypsy players who could still remember the tunes. Together they reconstructed the items in full, bringing to life music that had been silent for 50 years.


In Transylvanian Dances the tunes are transcribed and arranged for string quartet, and also developed into original passages of music, in an improvisational manner. Most motifs are derived from the folk music, but some additions are made, particularly in the harmonies. Some of the timbres in the quartet are designed to mimic the sound of the cimbalom, a Hungarian percussion instrument. The low-pitched, chugging chords on viola and cello also conjure up a familiar sound from Transylvanian folk bands.


Acknowledgement
The composer gratefully acknowledges permission from Muzsikas to use these two folk tunes in Transylvanian Dances.

• Ritchie, A: Transylvanian Dances; computer-set 

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• Ritchie, A: Transylvanian Dances; computer-set 

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• Jade String Quartet - string quartet on tour 

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Just a few kilometres away from the Lithuanian township of Druskininkai, where this piece was first performed, lies the border with Belarus, the last European dictatorship.
The Belarusian leader Alexander Lukashenko is infamous for his despotic treatment of dissidents, political opponents and journalists.

маўчанне – the silence highlights the lack of freedom of speech, freedom of opinion and free elections in Belarus, although the critique equally applies to any despotic régime worldwide.

• Gray: маўчанне – the silence; computer set 

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• Gray: маўчанне – the silence; computer set 

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• Samuel Gray: маўчанне – the silence; video 

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• Samuel Gray: маўчанне – the silence 

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