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• Crehan: Aftermath; computer-set 

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• Crehan: Aftermath; computer-set 

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Composed while I was a student at the University of Otago (Dunedin, New Zealand), these two viola duets originated from my first and second years, when I was studying Performance and Composition. From my third year Performance took over, to the extent that I couldn’t concentrate on Composition, so these duets are remnants of a compositional career that may still be there…waiting?…biding its time? Much of my four years at Otago were spent in Marama Hall, more precisely in the ground floor practice rooms (which were, in fact, underground). Practice Room One, my “favourite” (old piano, no chance of piano students interrupting), was most probably the place where these duets were composed. From what I remember, the Marama was a First World War hospital ship, and in the foyer of the hall a large honours board lists the men and women who served on her.

From Marama’s Hold was premiered by Duo Resonance in April 2001 at the XXIX International Viola Congress, held in Wellington, New Zealand.

• Mawhinney: From Marama's Hold; computer set 

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In this work, inspired by Paekakariki on the Kapiti Coast – ‘home’ during the composer’s six-week residency at Victoria University in 1989 – the relationship between music and environment is particularly strong. The cello’s low repeated D, which opens the piece, is the fundamental pitch heard in the sea and the restless semi-quavers evoke the continuous movement of waves crashing on the Paekakariki shore. Whitehead’s fascination with medieval philosophy and music, incorporating concepts of natural cycles, is reflected both in the title and in the compositional process, where magic squares were used to generate the background structure.
(Programme note by Emma Carle and Jack Body).

“This is a rich evocative piece that is never merely picturesque, as the title might suggest. It has a lyrical complexity reminiscent of Tippett… (it) achieves moments of great beauty.” (Tim Bridgewater, The Dominion).

“The highlight for me was the premiere of Gillian Whitehead’s Moon Tides, and Shoreline. … Perhaps there are marine associations to be heard in the score, but, more importantly, one appreciates the work’s cool and eminently logical form. The various musical motifs are inventive in themselves and intriguingly handled.” (William Dart, Music in New Zealand)

• Whitehead: Moon, Tides and Shoreline; facsimile 

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• Whitehead: Moon, Tides and Shoreline; computer-set 

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• Gillian Whitehead: Various Works 

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• Waiteata Collection of New Zealand Music Vol. 3 - Composer Portrait: Gillian Whitehead  Year: 2000 

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I had conceived the ideas for Moth long before it was written down on paper, having been kept awake on many occasions during the summer nights by the sounds of these fluttering insects. The sounds were fragmented by intervals of long silence, but they came so suddenly even the heaviest of sleepers would be irritated.

Moths are beautiful and eerie nocturnal creatures; they use a celestial navigation system which keeps them flying in a straight line, but however are unable to resist bright objects nearby.

In Moth, by using two violins, I have juxtaposed the serene attraction of the bright light, with the nervous and agitated behaviour of a single moth. Placing the violin parts closely together – both striving for a common goal, yet always in conflict with each other – I have attempted to portray the struggle of the poor creature who is forever trying to reach the moon.

Chen (Tony) Lin

• Lin, T.: Moth; computer-set 

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• Lin, T.: Moth; computer-set 

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• Tony Lin: Moth 

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• Tony Lin: Moth 

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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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“Owhiro”, “place of the god of darkness”. Owhiro Bay in Wellington looks out over on of the most dangerous and unpredictable stretches of water in the world. As the waters change quickly from sparkling blues to deep grey-greens, from flat glass to churning boil, the response and emotions of the observer also changes.

• Farr: String Quartet 'Owhiro'; computer-set  Year: 1996 

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• Waiteata Collection of New Zealand Music Vol. 2 - Chamber Music  Year: 1997 

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• Gareth Farr: Owhiro  Year: 1999 

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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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Throughout the last two summers, a tui has sung the same uncharacteristically repetitive song behind my house. This melodic fragment appears as a cadential echo to the flow of the music. The most immediate image is of gentle fluvial movement, agitated by falling drops and stronger currents. Yet beneath the surface there is an insistence, an energy in suspension.

• Brownlee: Water Sketch with Tui; computer set 

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• Brownlee: Water Sketch with Tui; computer set 

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• Brownlee: Water Sketch with Tui; computer set 

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• Brownlee: Water Sketch with Tui; computer-set 

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• Philip Brownlee: Water Sketch with Tui; video 

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