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Karlheinz Stockhausen, Luciano Berio and Pierre Boulez have long been in my group of compositional heroes. Not that I have always understood or accepted what they were doing but rather because they opened new vistas of compositional processes.

Stockhausen in particular offered composers new ideas about the way music is structured. His ‘moment’ forms made a deep impression and his early electronic music pieces Gesang der Jünglinge and Kontakte blazed new pathways. They are classics in the music of the twentieth century.

Adieu KS for solo vioklin is my musical way of offering a deep sense of gratitude to Karlheinz Stockhausen. This short hommage nods in the directly of Stockhausen’s early Sonatina for violin and piano and utilises a sequence of pitches from this work. Fragments contrast with continuity, melody with violinistic sounds and movement with stasis.

• Rimmer: Adieu KS; computer-set 

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• Rimmer: Adieu KS; computer-set 

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• John Rimmer: Adieu KS; audio 

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• Release: The Mozart Fellowship  Year: 2012 

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• Speak: Arabesques; computer-set 

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• Waiteata Collection of New Zealand Music Vol. 7 - Emerging Composers  Year: 2003 

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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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A dance for solo violin in 11/8 time, similiar to a Bulgarian dance.

• Christopher Prosser: Brightest Day 

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• Prosser and Seymour: Camden Mews NW   Year: 2006 

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Written over 1,000 years ago by Murasaki Shikibu, the noval, The Tale of Genfi, has continuously captured imaginations through different media including movies, plays, dance, Kabuki, opera and manga (comic books). The story is full of musical references. Genji, himself, plays the wagon, a six-stringed koto considered old-fashioned in the story, while the key women in his life play the kin, a seven-stringed, unfretted koto from China. Several modes are mentioned including the richi (ryo) and ritsu modes, to indicate a change of mood. Poems which have constant role in special conversations are described as tanka (short song), waka (long song) or simply uta (song). The novel is also infused with luscious descriptions of the clothes being worn, both colour – in particular greys and many shades of red – and the texture of the fabrics.

Many of these musical and non-musical elements are drawn into Genji (the Shining Prince) and the Koto Player for violin and piano. The work has three parts – “Tuning”, “Uta” and “Manga”. “Tuning” adopts some characteristics of koto playing and tuning plus distinctive figures from other traditional Japanese musics; “Uta” introduces the old modes of richi and ritsu in a lyrical style; and “Monga” transforms the musical shapes of the previous section info a fast, driving manga style movement using modern Japanese scales. Genji is dedicated to james Cuddeford (violin) and Zubin Kanga (piano) who gave the work its first performance at the Creative Explosion in the West on 22 October, 2009 at the University of Western Sydney.

Diana Blom

• Blom: Genji (the Shining Prince) and the Koto Player; computer-set 

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• Blom: Genji (the Shining Prince) and the Koto Player; computer-set  Year: 2010 

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• Diana Blom: Genji (the Shining Prince) and the Koto Player 

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• Creative Explosion  Year: 2009 

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Using animal imagery to take us into the heart of the human condition, Inland charts the fragile equilibrium between shepherd, flock, dog and hawk. Inland is a dance-theatre work conceived and choreographed by Douglas Wright. The work was commissioned by the 2002 New Zealand Festival with funding from Creative New Zealand.

• Palmer: Inland 

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• Palmer: Inland  Year: 2002 

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Meditation was commissioned by Tessa Petersen and John Van Buskirk for performance in a concert celebrating the opening of the Chinese Gardens in Dunedin, New Zealand, 2008. The piece takes an ancient Chinese poem as its point of departure, a text that focuses on Nature and its relationship to humans. The music spontaneously expresses thoughts of Nature and beauty, using simple ideas based around modes, repeated ostinati, and a mixture of long melodic lines and shorter motifs. Various timbres on both instruments are explored, and the pianist plays on the strings of the instrument with mallets at the beginning and end of the piece. The piece is structured in 3 main sections: slow-faster-slow, and all sections are played without a break.

• Anthony Ritchie: Meditation - downloadable PDF 

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• Anthony Ritchie: Meditation - hardcopy score & part  Year: 2013 

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• Release: The Mozart Fellowship  Year: 2012 

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The work is based on a previous composition of Jack Body, a setting for two female voices of the love sonnets of Michelangelo, composed in 1982 for dance/choreographer Michael Parmenter. Body has been fond of the melodic material composed many years ago and continued to be moved by Michelangelo’s poetry, which honours male beauty and laments the ravages of age.

In this version, Body rework the musical material, intensifying its emotional quality of convey the essence of Michelangelo’s extraordinary poems.

• Body: Meditations on Michelangelo; computer set 

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• Body: Meditations on Michelangelo; computer set 

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• Christopher's Classics Series XIV - Rieko Suzuki and Gao Ping 

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• Biddington: Music for Kathy; computer-set 

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• Biddington: Cantilena  Year: 2005 

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Questioning the mountain was written in June 2008, immediately after the devastating earthquake in my home region of Sichuan.

The piece is a meditation on the tragic event and a nostalgic offering to my motherland. Its slow and procession-like unfolding suggests some kind of ritual, at once sombre and graceful.

A fragment from the Sichuan folksong On the High Mountains becomes a recurring motif, like an unanswered question, which at the end transforms into a repeating bass line which gives the foundation to flourishing melisma in the high register on the piano.

Gao Ping

• Gao: Questioning the mountain; computer-set 

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• Gao: Questioning the mountain; computer-set 

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• Waiteata Collection of New Zealand Music Vol. 11 - Chamber Music III  Year: 2010 

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