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(1)22ca2bscl2cbsn; 422bstrb1; timp; 3 perc (1: crash cymbals, snare drum, 2: glockenspiel, bass drum , 3: marimba); strins

Two movements adapted from chamber work, Barcelona Postcards.

The first movement illustrates the plethora of fish to be seen at the aquarium at feeding time. There are small fish, big fish, colourful fish and plain fish. I have tried to mimic the darting movements of the small fish with quick high grace notes and tremolos. In contrast, the darker notes of the oboe and the piano represent the bigger, slower and brooding fish.

Finding large as life puppets in the square outside the Cathedral was a delight. I imagined them to be alive, moving jerkily, interacting and dancing a little in an empty space.

• Toan: Aquarium & Puppets; computer-set 

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• Toan: Aquarium & Puppets; computer-set 

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• 2008 NZSO/Todd Corporation Young Composer Awards 

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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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Arapatiki was commissioned by Stephen De Pledge as one of a series of Landscape preludes, and received its first performance in the Wigmore Hall, London, in January, 2004. Arapatiki translates (from the Maori language) as ‘the way of the flounder’, and is the ancient name of the sand flats in front of my house at Harwood, near Dunedin. The piece has something to do with the advance and retreat of the tide across the flats, where many species of sea and water birds spend much of the day – an ever-varying water-scape. The opening idea is based on the song of the korimako or bellbird.

• Whitehead: Arapatiki; computer-set 

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• Whitehead: Arapatiki; computer-set 

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• Landscape Preludes  Year: 2011 

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• Gillian Whitehead: Arapatiki; video 

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• Gillian Whitehead: Various Works 

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• Stephen de Pledge - Landscape Preludes  

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• Stephen de Pledge plays Arapatiki by Gillian Whitehead 

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• Tuhonohono: Music by Gillian Whitehead 

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• An Interview with Gillian Whitehead 

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• Stephen de Pledge: Three Landscape Preludes  Year: 2004 

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• Gillian Whitehead: Arapātiki CD  Year: 2012 

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Ars Moriendi investigates the wide range of the bass clarinet through a four-part chorale texture with microtonal inflections and elaborations. From the tentative material at the beginning flowers more assertive proclamations in the dying moments of the piece.

• Norris: Ars Moriendi; computer set 

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• Michael Norris: Ars Moriendi 

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horns (2); tabla (doubles crash cymbal); violin 1 (2), violin 2 (2), cello (2), double bass; voice and piano can be one performer or two

• McCallum: Aspiration's Meaning; computer set 

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• McCallum: Aspiration's Meaning  Year: 2004 

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• Selection 05  Year: 2005 

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3 fl (piccolo), 2 ob, 5 cl (1 in E flat ,3 in B flat , 1 bcl), 3 sax (2 alto + 1 tenor + 1 baritone), 2 bassoons, 4 hns, 3 tr, 3 trombones (1 tenor, 1 bass), 1 euphonium, 1 tuba, 1 timp, 3 perc

• Marshall: Aue!; computer-set 

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• Marshall: Aue!; computer-set 

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• Marshall: Aue!; computer-set 

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• Christopher Marshall: Aue!  Year: 2001 

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• Rimmer: Autumnal Alleluias; computer-set 

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• Rimmer: Autumnal Alleluias; computer set 

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• John Rimmer  Year: 2002 

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3222; 4231; timp; 2 perc: glockenspiel, vibraphone, large suspended cymbal, small triangle, large triangle, wind chimes, bass drum; harp; strings

• Lodge: Aër; computer set 

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• Lodge: Aer; computer-set 

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• Martin Lodge: Aër; audio 

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• Lodge: Aer; CD 

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Badb (pronounced ‘badhv’ where ‘dh’ is a voiced fricative, as in ‘these’) was one of a trio of war-goddesses from Irish legend. She assumed variously the guises of a beautiful woman, an old hag, and a carrion crow. Her manifestation in the latter form was an omen of death. Before a battle she would appear in anticipation of the carnage, and as the battle took place, would flit around the heads of the warriors. Afterwards, she would feed on the corpses strewn across the fields. Like the other two battle-furies, Macha and the M’rr’gan, Badb was both sinister and sexual; she prophesied the end of the world, the fall of the gods and an endless reign of chaos. There are three distinct types of material in this piece, portraying the three juxtaposed personalities of Badb: the sinuous, seductive syrensong of sing-flute representing the mysterious, beautiful femme fatale who befriended the Irish warrior C’ Chulainn, then lured him to his death; the unearthly shrieks and battle-cries of the old hag, which were said to arouse fear and dread in the living; and the hideous crow, pecking at the flesh of the slain with bloodied maw. Much of the piano’s harmonic structure is derived and interpolated from chords representing the crow in Olivier Messiaen’s Catalogue d’Oiseaux, while the notes B, A and D feature prominently through the piece.

• Norris: Badb; computer-set 

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• Norris: Badb; computer-set 

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• Taurangi - New Zealand Music for flute and piano  Year: 2004 

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• Key: Barristers of the Blues; computer-set 

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• Premieres 2004, Volume 4 

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