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Originally called A Song of Tamatea, this work was revised in 2000 to become An Offering for Parihaka.

• Hamilton: A Song of Tamatea; facsimile 

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• Hamilton: An Offering for Parihaka; computer set 

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• Hamilton: An Offering for Parihaka; computer set 

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• David Hamilton: A Song of Tamatea 

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• Parihaka 

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This early work was recorded by Schola Musica with soloist Sharon Joy Vogan and is scored for strings.

• Ritchie A: Concertino for Piano and Strings; facsimile 

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• Ritchie A.: Concertino; facsimile  Year: 1988 

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• NZ Flora Series Vol 5  Year: 1985 

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This musical analogy to the physical phenomenon of light breaking up is written in a pointillistic style, with sinuous melodic fragments leaping across the piano keyboard in jagged cross-rhythmic dancing. Angular counter- melodies are provided by a chamber orchestra of single winds and brass with 14 strings in this single movement.

The idea of diffractions is represented in sound by the piano, central and prominent, exploiting an aspect of its technique to which it is ideally suited: rapid changes of direction and wide intervallic leaps with extreme dynamics. The orchestra provides bands of coloured spectra forming an integrated texture. The melody, oscillating and colourful is sometimes pointillistic and at other times it flows into longer continuous phrases.

Diffractions is essentially an abstract work in one continuous movement.

• Keay: Diffractions; facsimile 

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• Keay: Diffractions; facsimile 

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• Music by Nigel Keay 

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• Nigel Keay - Various Works 

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I have many reasons to thank Peter Nisbet, the General Manager of the NZ Symphony, who, through the 70s and 80s, passed a series of commissions my way.

How privileged I was to be invited to write for the best ensemble in the country! Little Elegies was a particularly prestigious commission, with the concert recorded for telecast to the nation. I successfully argued that my piece, commissioned to mark the 25th anniversary of television in New Zealand, should exploit the medium itself, not simply be a telecast of the orchestral performance. And so, with the help of that wild man of television production, Peter Coates, we produced, at great speed and with few resources, an experimental video that inter-cut slow motion gestures of the conductor with what were sometimes quite harrowing topical television news clips. I don’t recollect what the reaction was to our provocative creation – perhaps nothing more than the Great Silence with which all New Zealand artists are familiar!

Although this work was commissioned as a celebration, I chose a sombre tone, to draw attention to some of the darker aspects of the popular media, particularly the trivialisation of human tragedy as mass entertainment. I had been deeply shocked after reading Dith Pran’s book The Killing Fields and seeing the movie of the same title, and felt that any kind of personal statement I could make would be insignificant besides the enormity of the horror; hence the ‘littleness’ of my elegies for the suffering of the Cambodian people.

In its first performance, Little Elegies was conducted by Jose Serebrier.
(Note by the composer)

• Body: Little Elegies; computer-set 

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• Body: Little Elegies; facsimile 

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• Works for orchestra: Body, Farr, Sanders, Carr 

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• Orchestral Works: Harris and Body 

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• Waiteata Collection of New Zealand Music Vol. 6 - Composer Portrait: Jack Body  Year: 2003 

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• Sanders: Marram; facsimile  Year: 1991 

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• Works for orchestra: Body, Farr, Sanders, Carr 

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• Rimmer: Meeting Place; facsimile 

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• Rimmer: Meeting Place; facsimile 

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• Rimmer: Meeting Place; facsimile 

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• SOUNZ Orchestral 1993 

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• Music by Hamilton and Rimmer  Year: 1990 

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This work reflects my developing interest in the incredible diversity of melodic forms and styles as found outside the traditions of Western art music. The basis of the piece is a series of three transcriptions which I notated from recordings. The first is a Greek fiddle tune Horos Serraborrowed from a recording of Greek folk music; the second is a fragment for solo bamboo flute (saluang) which introduces a kind of sung poetry from West Sumatra; the third Hindi film theme as played by a street band in Pune, India, an ensemble comprising four clarinets, two trumpets and two drums. (The latter two recordings I made my self).

These transcriptions for orchestra attempt to capture something of the style of playing and timbre of the original performances. Around these more or less literal reproductions I have added an orchestral fabric whose purpose is to create coherence and continuity within the work. I am not able to justify bringing together three different musics which are so unrelated culturally speaking – my intention is simply to try to convey something of the joy and excitement I experienced when I encountered each one for the first time.

Jack Body, 1983

• Body: Melodies for Orchestra; facsimile 

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• Jack Body: Melodies for Orchestra 

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• Preview - a journey to Olympus, and beyond 

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• Jack Body: Pulse  Year: 2001 

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• Elmsly: Neither from nor Towards; facsimile 

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• Body: Poems of Solitary Delights; facsimile 

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• Jack Body: Poems of Solitary Delights; audio 

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This work was commissioned by Auckland accordionist, Harley Jones, for performance in New York, August 1988, but was premiered in Auckland in 1987. In the first two years it received 36 performances worldwide and was recorded by the New Zealand Symphony Orchestra with Harley as soloist. Performed frequently internationally, several other recordings have been made of this work. Rhapsody combines the sensitivity, expressive and distinct tone colours of the accordion with the full power of a symphony orchestra.

• Daverne: Rhapsody for Accordion and Orchestra; computer-set 

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• Gary Daverne: Youth of Auckland 

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• Gary Daverne: Orchestral Music  Year: 1981 

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• Gary Daverne: Rhapsody  Year: 2007 

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