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Commissioned in 2000 by the NZTrio, A Feather of Blue takes its title from a phrase in a poem called A View From A Window by New Zealand writer Kevin Ireland. I have always admired the wry humour and brightness of Kevin Ireland’s writing and many years ago set three of his poems for soprano and mixed ensemble. As a kind gesture Mr Ireland sent me a copy of his book of poems Skinning A Fish, and I was particularly struck by the imagery of colours, flowers, feathers and birds in this poem, which illustrates rain pouring down a window pane and giving way to a burst of sunshine after a storm.

Maria Grenfell

• Grenfell: A Feather of Blue; computer-set 

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• Grenfell: A Feather of Blue; computer-set 

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• Grenfell: A Feather of Blue; computer-set 

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• New Zealand Trio - Spark  Year: 2004 

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• Crehan: At the Breaking Point; computer-set 

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• Crehan: At the breaking Point; computer-set 

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• Rimmer: Burning the Calories; computer-set 

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• Rimmer: Burning the Calories; computer-set 

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• Rimmer: Burning the Calories; computer set 

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• Rimmer: Burning the Calories; computer set 

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• John Rimmer: Burning the Calories; audio 

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This is the “permanent exhibit” from the work in progress called ‘given what we gather takes place’. The model for the whole work is that of a museum in which some exhibits are on permanent display, and others are brought up from the storeroom. In other words, some sections of music are always to be played, while others are chosen by the performers from a pool of material to present a unique exhibition for each performance. The percussionist’s instrumental collection is similarly assembled; some categories of instruments are specified while others are chosen by the percussionist with the added stipulation that some aspect of the instruments chosen must be unique to the location of the performance. The music of this particular “exhibit” alludes to, but does not use, folk-like material and is conceived as a playful sparring match between two friendly opponents. ‘given what we gather takes place’ was commissioned by Resonate Duo, to whom it is dedicated, with funding from Creative New Zealand.

• Gardner: Given what we gather takes place; computer set 

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• Gardner: Given what we gather takes place; computer-set 

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• Given What We Gather Takes Place 

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Like many whakataukī, or traditional sayings, he rimu pae noa conveys a rich range of meanings. Literally, it describes seaweed set in motion by the tide. Metaphorically, it also refers the restlessness of a traveller, and the movement of a whole bed of seaweed in the same current alludes to a group of people working in harmony. This in particular has a strong resonance with the collaborative process from which the piece arose. The instrumental ensemble provides a framework, and a backdrop, for the improvisation of the taonga pūoro. At the same time it attempts to maintain its own identity, in conversation with the solo lines. Precisely specified gestural events are distributed in a flexible rhythmic framework,
which aims at a balance between control and spontaneity. I am deeply grateful to Horomona Horo, for a richly rewarding collaboration, and to Richard Nunns, whose work over many years is a deep source of inspiration.

Philip Brownlee

• Brownlee: He rimu pae noa; computer-set 

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• Brownlee: He rimu pae noa; computer-set 

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• Philip Brownlee: He rimu pae noa; video 

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• Philip Brownlee: He rimu pae noa 

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• Two pieces by Philip Brownlee 

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Oppositions was composed for The New Zealand Piano Quartet, for inclusion on a CD of the composer’s chamber music, released by Kiwi-Pacific Records. It is in one movement, and is based around the idea of opposing forces, whether they be literal or imaginative. In musical terms, the piano is frequently pitted against the strings, while musical themes seem to jostle for supremacy. After a short and ominous introduction, the strident first theme is played on violin, accompanied by hammered chords. A second theme has all three stringed instruments playing in ‘cluster’ harmonies. The cello announces a lyrical but turbulent idea, and this is played in counterpoint with the first theme. The piano is to the fore in a third theme, which is stealthy and marked by sudden outbursts. These themes are discussed in a middle section that gradually winds down to very soft, thudding chords, before building up to a vigorous return of the opening. In this final section themes are fragmented and tossed around violently, before a brief Coda in which the first theme appears dominant.

• Ritchie, A.: Oppositions; computer-set 

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• Ritchie A.: Oppositions; Computer Set 

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• Anthony Ritchie: Chamber Music  Year: 2006 

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Piano Trio No. 1 is in three sections.

Section 1 – Bars 1 to 25 The haunting opening theme gives a sense of imbalance and cross rhythm. This, combined with polytonality and energetic counterpoint typifies the wide scope of disparate expression contained in this work. The simple opening figures gain momentum and complexity in bar 2, then slow and slower until the robust introduction of the first of the round themes at bar 4. Varying degrees of counterpoint are juxtaposed in the succeeding phrases, along with the exploitation of three distinct themes in alternating patterns of rounds. The momentum is then diffused, winding down with trills and running semi-demi-quavers into the low bass of the piano alongside ponticello effects in the strings. Unexpected harmonies and intense flourishes are balanced across the timbre of the ensemble. Ultimately runs of harmonic glissandi mark the end of the opening section. The ending purposely engenders a sense of perplexity, of not knowing what next to expect.

Section 2 – Bars 26 to 67 Misterioso Bars 26-40 mark the first sub-section, followed by the second, bars 41 to 53 and the third, bar 54 to 67. Various devices, such as sequences and pauses are implemented to cause the momentum to surge and ebb. The different melodies and underlying contrapuntal fragments are in constant interplay throughout each sub-section. Each individual sub-section has a differing tone and timbre as different ideas come forth and are contemplated. The third section comprises a great fugue which is a quadruple rhythmic elongation of the primary theme from section three (‘Calypso’) that follows. This is treated in four parts contrapuntally, one of which is retrograde to the others. The rhythm gains momentum toward the end of the fugue to propel you into the third section.

Section 3 – Bars 68 to 158 ‘Calypso’ This lively, quick-paced, rambunctious section is hallmarked by virtuosic writing for all the instruments. Though not exactly in the style of a true Caribbean ‘calypso’, the repeated syncopation pattern in the piano gave rise to this title. Elaborate contrapuntal juxtapositions of past themes, with differing harmonies, clash and bounce off each other in a frenzy. The momentum is fuelled by the compelling refrain which first occurs at bar 94 and repeatedly in a chorus at the conclusion of the finale.

• Stabler: Piano Trio No. 1; computer-set 

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• Stabler: Piano Trio No. 1; computer-set 

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• Piano Trio No. 1 

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• Piano trio No. 1  Year: 2002 

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To celebrate the 100th anniversary of one of the greatest Russian composers, Dmitri Shostakovich, I contributed by writing this piece for piano trio. Attempts were made to capture the sarcastic, ironic and satirical nature of his music. However, I did not merely want to imitate his style, but rather to pay homage to what I think are some of the most powerful fundamental elements in his music.

There are often moments that are unmistakeably Shostakovich-esque, such as bars 41 to 73. Other times rapid time changes emphasizes the strong rhythmic pulse of this piece. The “coda” incorporates a Russian dance, which is even briefly interrupted by the man himself, with a stern expression on his face as if saying “What’s this nonsense?!”.

Scherzo for D.S was given its first performance at the CANZ Composers’ Workshop in Nelson in June 2007, followed by two more performances that year by the Bouterey-Ishido brothers, Jun and Yuuki, and myself in Christchurch.

• Lin, T.: Scherzo for D.S; computer-set 

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• Lin, T.: Scherzo for D.S; computer-set 

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• Tony Lin: Scherzo for D.S 

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Stapes is the first piece in a series of three trios collectively entitled Middle Ear. The stapes (or stirrup) is the smallest in the chain of three bones that transmit vibrations from the eardrum to the internal ear in the process of transformation of external soundwaves to an emotional or cognitive response within the listener. The composition of Stapes was largely dictated by the idiosyncrasies of the ensemble: the piano, suffering under equal temperament and timbral limitation, and the strings, free in pitch and hosting a wide timbral palette. The juxtaposition of these disparate musical entities, with the instruments working together and against each other, forms the basis of this work. The piece is physically and mentally demanding, pushing the players in individual and collective struggles for articulacy.

• Samuel Holloway: Stapes - downloadable PDF 

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• Samuel Holloway: Stapes; audio 

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Tempest was the First Equal Winner of the 2005 Lilburn Trust Student Composition Awards at Victoria University of Wellington.

• Eastwood: Tempest; computer-set 

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• Eastwood: Tempest; computer-set 

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