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• Besser: Duo for violin and piano; facsimile 

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• Jonathan Besser: Duo for Violin and Piano; audio 

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• Jonathan Besser: Duo for Violin and Piano 

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This work was commissioned by Auckland Philharmonia Orchestra for the 2005 Michael Hill International Violin Competition to be the solo violin test-piece in the semi-final second round of the competition.

• Farquhar: earth, air, water...; computer set 

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• Farquhar: earth, air, water...; computer-set 

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• Crossman: Expression in Blue; facsimile  Year: 1988 

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

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Fanitullen was written for the 2007 Michael Hill International Violin Competition. It was partly inspired by Scandinavian folk-fiddle playing and Stravinsky’s Soldier’s Tale. It is said that ‘fanitullen’ (the devil’s tune) was first played by the devil himself who appeared, hooves and all, at a village dance. He grabbed the fiddle and began playing a tune so wonderful that the gathered people continued dancing until they died from exhaustion – and then their corpses continued dancing until their skulls rolled out of the door and down the hill!

• Harris: Fanitullen (the devil's song); computer-set 

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• Harris: Fanitullen (the devil's song); computer-set 

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Four Pieces in progressively faster tempi, marked by the 4×108 quarter note pulses in the piano part; over this the violin independently plays its part. In the third piece the violin part consists of the beginning of number 2 of Three Pieces (Autumn Leaves) for violin solo.

• Carey: Four Pieces; facsimile 

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Dealing with notions of “between”, “among”, “mutual” and “reciprocal”, inter- mixes and splices a pitch language of interlocking intervals to form a spacial and textural rondo. Many thanks to Jack Body for presenting me with the opportunity to write for Rieko and Yuji. inter- was premiered by Rieko Suzuki and Yuji Takahashi at Te Papa in May 2004.

• Watson: inter-; computer-set 

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• Watson: inter-; computer-set 

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“kontinuum 2” is the second in a series of pieces that share compositional techniques and even a small amount of specific material. As with “kontinuum 1”, for saxophone quartet, the notion of “form as a product of growth” was central to the process of composing “kontinuum 2”. A network of interrelated material is evolved from a single cell and it is the subsequent linking, overlapping and extending of this material that generates the piece’s final form.

“kontinuum 2” was composed for, and is dedicated to, Slovene violinst Branko Brezavscek.

• Hall: Kontinuum II; facsimile 

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• Langford: Mostly in B flat; computer-set 

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

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• Sound Barrier  Year: 2006 

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• Harris: Nocturne; computer-set 

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

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Bright and happy! Written for my wife, Liz Sneyd and first played at our wedding.

• Utting: Prelude; computer set 

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• Utting: Prelude; computer-set 

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