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Written in response to Bartok’s ‘44 Violin Duos’(1931) which were based on traditional East European melodies. Bartok was concerned that such tunes would become extinct and wanted to preserve them. ‘Birds Reply’ is also intended as an educational resource although the pieces are original compositions with Celtic, English, Balkan and Klezmer influences. On this recording Chris Prosser plays both violin parts.

• Prosser: Birds Reply to Bartok; computer-set 

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• Prosser: Birds Reply to Bartok: 44 Violin Duos; computer-set 

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• Accordatura Violin - Chris Prosser 

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• Prosser: Birds Reply to Bartok - 44 Violin Duos  Year: 2003 

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The idea of Counting Game is based on the music of Bela Bartok, particularly his set of piano pieces Mikrokosmos. Bartok often uses different rhythms made up of varying groups of two or three. I also like counting and creating rhythmic patterns in music. In this piece the counting can be done out loud, but it doesn’t need to be. You might need to try taping different parts of the piano to find the best place. Two places you could try are either underneath the keyboard or on the face o the piano case.

• Sunrise: Music from New Zealand for Young Pianists  Year: 2008 

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• Sunrise - Music from New Zealand for Young Pianists  Year: 2008 

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• Parker: Credo; computer set 

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• Parker: Credo; computer-set 

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• Parker: Credo; computer-set 

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• Parker: Credo; computer-set 

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• Parker: Credo; computer-set 

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• Brent Parker: Credo 

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• Brent Parker: Credo, Guitar Concertinos, En France 

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This work has been chastised as a mere Bartók pastiche. While this remains true, I do not think it should be so easily dismissed. Keep in mind that it was written by a 21-year-old, and as such, I believe, shows a fair degree of maturity. It borrows and adapts Hungarian melodies (I have subsequently forgotten which) taken from one of Bartók’s myriad collections.

• Davidson: Magyar Rondo; computer-set 

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• Davidson: Magyar Rondo; computer-set 

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• John Elmsly (ed.): Canzona Vol 7 No 23  Year: 1985 

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• Magyar Rondo - Rudolf Haken 

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• Talencourt  Year: 2008 

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• Ritchie A.: Memories of Budapest; computer set 

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• Ritchie, A: Memories of Budapest 

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While no Lyric Suite, this is my most ambitious composition to date, combining multiple musical cultures dating over the past 1,000 years. It is dedicated to my wife, Shayna. The first movement owes something to the world of Janacek, and is even based upon a Czech folk tune (which one hears partially disguised at one point).
The second (no jokes about “La Quesadilla,” please), is based upon music I have heard played by South Mexican street bands. A simple melody becomes more fragmented until it distorts into this nightmarish scherzo.

Talencourt starts with direct transcription of a Quebecois folk melody as originally played in the 1920s by “Villeneuve and Bouchard” a violin and accordion duo – later released on the 1985 album You Can Tell the World About This (Morning Star Records). It is then given short variation treatment in the styles of Bartók, Stravinsky, Prokofiev, and Rachmaninov, in that order. The rest of the work is a mirror image of itself right back to the very beginning.

The fourth movement only lasts around a minute, and is a setting of the medieval melody (anonymously written) of the same name.

Mache Dich Mein Geist Bereit is a setting of a chorale melody, in quickly contrasting alternating sections of a March and a “Pseudo-Adagio” (which is at the same speed as the march, but the notes are obviously held much longer). Mahler probably would have hated this piece, but I don’t care, I will always love Mahler’s music.

Shir Ha-Shirim is a toccata-like distortion of a medieval Jewish setting of a text from the Song of Songs, III / 1, “By night on my bed I sought him whom my soul loved; I sought him, but I found him not.” The Song of Songs is a love-song from God to Israel and vice-versa and it is read at Passover. After a short reprise of Hore Cerny the melody returns to the toccata, thereafter quietly dispersing.


Matthew Davidson

• Davidson: Music for String Trio; computer-set 

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• Davidson: Music for String Trio; computer-set 

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• Davidson: Music for String Trio; computer-set 

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• Davidson: Music for String Trio; computer-set 

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• Davidson: Music for String Trio; facsimile 

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• Davidson: Music for String Trio; facsimile 

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• Talencourt  Year: 2008 

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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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• Body: Nowell (in the Lithuaanian manner); computer-set 

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• Body: Nowell (in the Lithuaanian manner); computer-set 

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• Body: Nowell; facsimile 

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• Baroque Voices: Alleluia: a newe work! 2007  Year: 2007 

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Mystery Rag (1989) is a melange of Mahler’s symphonies (in particular, his Symphony No. 6) and piano ragtime. In Elegiac Rag (1989) the melodies are influenced by a Bach chorale (In Thee is Joy) and it concludes with a transcription of a Welsh hymn tune, O Fryniau Caersalem (‘From Salem’s Hills Yonder in Glory’) originally sung by Pedwarawd Wilkes-Barre, a Welsh choir from Pennsylvania in the 1920s. It appeared on a 1985 Morning Star Records release entitled You Can Tell The World About This. The last piece in this tryptich, Transylvanian Tickler (1990) is a shameless pastiche of Bartok in ragtime.

• Davidson: Three Elusive Rags; computer-set 

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• Davidson: Three Elusive Rags; computer-set 

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• 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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Ever popular with audiences, this three movement string quartet juxtaposes transcriptions of music played by a Chinese jaw’s harp, a Madagascan zither and the music of a Bulgarian village band. It was composed at the request of the Kronos Quartet who have played the work throughout the world.

The New Zealand String Quartet has championed the work giving performances all over the world. You can see them on Youtube in the process of making a new recording (due for release in 2010) and talking about the music.

• Body: Three transcriptions; facsimile 

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• Body - Three Transcriptions 

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• New Zealand Music for Creative Dance (Volume Two) 

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• Jack Body: Three Transcriptions 

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• Ears Wide Open Taringa Areare Education Resource CD  Year: 2000 

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• Jack Body: Pulse  Year: 2001 

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• notes from a journey  Year: 2010 

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