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This short piece was originally written as a twenty-1st birthday present for clarinettist Esther Smaill. The melodic fragment heard at the outset soon skitters over its own unstable surface, mutates into fanfare-like repetitions, is spliced with momentary cantabile inserts, is interrupted by slow motion signposts, and blows itself out in a final burst of energy.

• Gardner: Charge; computer-set 

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• Gardner: Charge; computer-set 

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G.B. (Geof Burridge) a cousin of mine – the only member of my family who had any idea of what my music was about – who was my ‘whanau’ during the writing of Waituhi – he was headmaster of Tokoroa High and set up the first multicultural marae in a New Zealand school. He died suddenly in his early 40s in 1985. Oh! and the notes G and B do play a part in the piece. It was written for bassonist Michael Burns who was a student at VUW at the time.

• Harris: In Memory G.B.; computer set 

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• Harris: In Memory G.B.; computer-set 

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• Harris: In Memory G.B.; computer-set 

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• Ross Harris: In Memory G.B.; video 

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• Jagger: Love Duet; facsimile 

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• Jagger: Love Duet; facsimile 

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Three minute-long pieces (the number three is important in other ways also) chronicling our heroic egg’s plunge into hot water (jostling for space in the pot); self-awareness (despair at not growing to be a fully-fledged chicken) and ultimate sacrifice at the dinner-table.

Written during a month-long residency in November 2005 at the Visby International Centre for Composers, Gotland, Sweden, and dedicated to this institute and its director Ramon Anthin. First performed by the Continuum Ensemble, Toronto, with narrator James Rolfe in Toronto in October 2006.

• Carey: Music to Boil an Egg By; facsimile 

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Nga ha o nehera, which translates from the Maori language as ‘a breath from the past’, was commissioned by and written for Ben Hoadley, with financial assistance from the Becroft Trust. Ben Hoadley gave the piece its first performance at the International Double Reed Convention in Melbourne in 2004. Nga ha o nehera is a five-movement suite, written after a taonga puoro wananga at Ohinemutu on the shores of Lake Rotorua. The first movement is ‘Nga ha o nehera’, meaning a breath from the past, the second, ‘puna wera’, describes the continual welling up of hot water from a spring at the edge of the lake, and the third, ‘Mokoia’, suggests the soundscape of Mokoia Island, which, as well as a major historical site, is also a bird sanctuary. The fourth movement He purakau, recounts a folk-story – not a specific tale, but suggesting the elements of all strong stories, and the last movement, ‘Ohinemutu’, locates the piece in place, and suggests something of the story of Hinetekakara, the ancestress of the Te Arawa people, whose untimely death gave the place its name.

• Whitehead: Nga ha o nehera; computer set 

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• Whitehead: Nga ha o nehera; computer-set 

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• Tuhonohono 

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• Tuhonohono: Music by Gillian Whitehead 

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• Gillian Whitehead: Arapātiki CD  Year: 2012 

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This solo for bassoon is in three contrasting sections, connected by brief interludes. The first section features a rapid repeated melodic figure; this reappears in different guises and dynamic levels. In the second part a cantabile melody is heard over a low ostinato of a perfect fifth. The third and most lively section is what I term a ‘rhythmic variation’; a repeated melody where the pitches remain constant while the rhythmic values change with each subsequent repetition. A melodic development leads to a short coda revisiting the figure heard at the beginning of the piece. Written for and dedicated to Ben Hoadley, in friendship.

• Carey: Soliloquy; facsimile 

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• Carey: Soliloquy; facsimile 

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• Rimmer: Southern Invention; computer-set 

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• Rimmer: Southern Invention; computer-set 

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• New Zealand Music for Woodwind 

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