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Composed in Sydney in 1995 and revised in Wellington in 2003. The prelude is contemplative in mood, while the dance owes something to the folk style of playing violin; it is much more extrovert.

• Carey: Prelude and Dance; facsimile 

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• Carey: Prelude and Dance; facsimile 

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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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The Violin Sonatina and the later orchestrated version, the Concertino, was composed over many years from 1962 to 1984. The piece is a favorite of the composer’s. It explores the wonderfully expressive nature of the violin.

• Twomey: Sonatina for violin and piano (opus 10b); computer-set 

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• Twomey: Sonatina for violin and piano (opus 10b); computer-set 

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• Twomey: Sonatina for violin and piano (opus 10b); computer-set 

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• Twomey: Sonatina; computer-set 

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• Reflections - Music Composed by Ray Twomey 

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• A New Dawning  Year: 1999 

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This work for violin and piano was reviewed thus, “The intense heart of the concert was Eve de Castro-Robinson’s Split the Lark…performed fervently..and serenely…The work suited both moods, the opening of sustained airy interweaving by the two instruments giving way now and then to more strident, stopping and starting gestures. The piece was taut throughout, but certainly intensified, closing with a fine screech of emotion at the very end.” Cheryl Camm, Music in New Zealand.
“Split the Lark…an airy capriciousness combined with intensity, grace and rhythmic intricacies.” John Taylor, Music in New Zealand.

• de Castro-Robinson: Split the Lark; facsimile 

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• De Castro-Robinson: Split the Lark; facsimile  Year: 1996 

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• De Castro-Robinson: Triple Clarinet Concerto and other works 

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• A Chaos of Delight: music by Eve de Castro-Robinson  Year: 1998 

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Composed for solo violin and performed as part of the Michael Hill International Violin Competition, “The Dance of the Sibyl” was inspired by several paintings entitled “The Lane of the Sibyl” by the English born painter Elizabeth Haines which illustrate the dark lanes of overhanging trees and foliage with chinks of light in South West Wales where she lives.

• Rimmer: The Dance of the Sibyl; computer set 

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• Rimmer: The Dance of the Sibyl; computer-set 

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

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These pieces were derived from certain pages from a French philosopher’s work that I found in the Otago University library, during my year as Mozart Fellow in the School of Humanities there. This and the fact that they were composed during the autumn give the work its title. The realisation of the work involved processes determining pitch (encompassing the whole range of the violin) and rhythm (in quarter and eight notes); although the compositional processes may have been simple, the performance requires considerable virtuosity. Written for violinist Mark Menzies, who gave the first performance at the 09(03) Contemporary Music Festival in Auckland in October 2003.

• Carey: Three Pieces (Autumn Leaves); facsimile 

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• Carey: Three Pieces (Autumn Leaves); facsimile 

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• Farquhar: Three Pieces for violin and piano; facsimile 

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• Chamber Works Vol 1 (NZ Composers Edition) 

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Composed in 2003 and dedicated to a Toronto friend Dusan Ostojic, who passed away that year. The piece is based on the following text, translated into musical tones with the aid of Udo Kasemet’s “MusicAlphabet”: “Dusan Ostojic, Serbian Canadian; Precious Beautiful Person – Fly Free in the Stars!”

• Carey: To Dusan; facsimile 

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Tutukaka is a reflective work inspired by Tutukaka in Northland, New Zealand. The work is based around a lyrical melody that is first played by the violin at the start of
the piece. The melody gently carries memories of isolated beaches, watching the tides ebb and flow and the powerful feeling of standing on the tip of a headland looking out
into the ocean.

The music in turn visits other memories; the swirling waves at Matapouri beach, watching a lighthouse glow unfailingly every night and seagulls scavenging around the fishing boats.

• Toan: Tutukaka; computer-set 

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• Toan: Tutukaka; computer-set 

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