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This rhapsody won the Philip Neill Prize for original composition from Otago University in 1982. The work is broadly in ternary form – two passionate sections flanking a quiet middle section of long cantando phrases; as though passion needs to be tempered and considered. It is demanding technically and emotionally of both performers.

• Caskie: Rhapsody for Violin and Piano; computer-set 

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• Caskie: Rhapsody; computer-set 

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• Caskie: Rhapsody for Violin and Piano; facsimile 

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• Prosser: Six Meditations; facsimile 

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• Christopher Prosser: Lament and Dance from Six Meditations; audio 

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• Prosser: Six Meditations  Year: 1988 

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• Farquhar: String Quartet; facsimile 

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• Farquhar: String Quartet; facsimile 

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• Farquhar: String Quartet; facsimile 

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• Music by David Farquhar  Year: 1993 

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The first performance was given on the 27th November 1983 by the Amabile String Quartet (Alan Foster, Glenda Craven, Lyndsay Mountfort, Annemarie Meijers), the players all being members of the New Zealand Symphony Orchestra. The ‘String Quartet No.1’ was also performed at the National Art Gallery, Wellington in 1983, and at the University of Otago, Dunedin, NZ in 1986. ‘String Quartet No.1’ is a concise work written in an atonal and at times modernist language somewhat inspired by the music of Alban Berg and Arnold Schoenberg. The second movement is a kind of “Second Viennese waltz” – a reference to the Second Viennese School at the beginning of the 20th Century.

• Keay: String Quartet; computer-set 

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• Keay: String Quartet; computer-set 

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• Keay: String Quartet; facsimile 

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

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• Nigel Keay - Various Works 

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This is a set of variations inspired by Copland’s Piano Variations and depicting Auckland rather than New York. Beginning quietly and sombrely, it moves steadily towards a fierce climax before dying away with a hint of better things to come. This work was written for the CANZ ’90 series of concerts held at Auckland University. The composer is pleased with it and the way it was performed though it did not receive a very good review in Canzona; it was considered too restricted in its make-up. The composer is unrepentant.

• Hinds: String Quartet ('Tale of a City'); facsimile 

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• Hinds: String Quartet ('Tale of a City'); facsimile 

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The title page of Three New Zealand Perspectives is marked: “In this land, land of light, land of space, New Zealand, mountains cleqar, special place of the long white cloud. Aotearoa.” (from Our Song by D. Buchanan 1986).

• Buchanan: Three New Zealand Perspectives; facsimile 

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• Buchanan: Three New Zealand Perspectives; facsimile 

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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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Variations for Violin and Piano was written in 1982 while Nigel Keay was studying composition at Victoria University of Wellington. The work won the inaugural Composition Competition there in 1982, being played on that occasion by Bruce Corlett (violin) and Hugh Stevenson (piano). It is a single movement work, and although tied in with the formal study requirements of the day, the piece saw the establishment of a personal style and harmonic language that developed along a path of “atonality” during the eighties. In fact the composer considers that this work marks the beginning of his catalogue. Nigel Keay played the violin part of this essentially abstract piece shortly after it was written, reflecting his desire to create a work that would be enjoyed by its performers.

• Keay: Variations; facsimile  Year: 1985 

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• Waiteata Collection of New Zealand Music Vol. 1 - A Violin and Piano Recital  Year: 1999 

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