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Ahotu is the sixth in a series of instrumental pieces based on the phases of the moon, and refers to the seventh day of the cycle. The entire thirty-day cycle has been used as one of the rhythmic generators of the piece, with vowels and consonants translated into durations to provide the apparently irrational rhythms, which are contrasted in a series of short ensemble or solo sections with either proportional or regular rhythms. The two longest sections are centrally placed. The first, featuring trombone and percussion, presents the language-based material in the percussion; the second, starting with the long piano solo, begins a mensural canon based on the proportional material. However, half-way through this canon, recapitulatory material begins, and subsequent appearances of the canon occur in continually shorter blocks, each transformed very differently. O Matenga, in the title of the piece, refers to the Maori custom, found also in many other civilisations, of providing sustenance for the spirit to the next world after death.

• Whitehead: Ahotu (O Matenga); facsimile 

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• Whitehead: Ahotu (O Matenga); facsimile 

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• Lontano: New Zealand Women Composers 

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This work for clarinet quintet in three movements was written following time spent in the north of Scotland, during which I visited the remote and desolate places that my family left behind when they emigrated from Scotland to New Zealand in the 19th Century. Although the music is not intended to be strictly descriptive, the image underpinning the work is that of an infinite shore that stretches from the line of steep cliffs at Badbea overlooking the North Sea, around the world to the rocky southern shores of Aotearoa New Zealand. The work draws on the tonal colour and extremes of pitch that are possible in the clarinet, and the extraordinary platform of sound of the string quartet.

• Webster: An Infinite Shore; computer set 

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• Webster: An Infinite Shore; computer set 

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• 5 Works by M Louise Webster 

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“I enjoyed playing the first performance of ‘An Irksome Vengeance’ with Yvette. The piece explores quite complex rhythmic patterns at a high level of expertise, calling to mind jazzy and folk-type drive with well-executed lyrical connections. The audience seemed to relate warmly to the work, so I think it is well deserving of future airings." – Katherine Hebley, cellist, Auckland Philharmonia Orchestra and 175 East

This piece was largely informed by my involvement in the Auckland Philharmonia Orchestra’s Remix the Orchestra courses, during which fascinating syntheses of classical and hip-hop musics are created.

I have an all-encompassing view of music and have never shied away from influences outside the ‘classical’ genre: in this short work can also be heard a fleeting post-grunge-informed bassline and maybe, even, a slight tinge of progressive rock.

It recently occurred to me that many of us have a rap song from our formative years to which we know, if not ALL the words, at least most (often entirely despite ourselves!). Upon rediscovering Monie Love’s It’s a Shame (chorus originally recorded by the Spinners and written by Stevie Wonder), the phrase ‘an irksome vengeance’ jumped out at me from the lyrics.

Upon catching up with a former mentor prior to the composition of this work, I was reminded of the concept of a ‘groove-based’ piece, and to this end I have tried not to let the basic pulse abate for too long at a time, so as to create as much continuity as possible.

Yvette Audain

• Audain: An Irksome Vengeance; computer-set 

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• Audain: An Irksome Vengeance; computer-set 

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• Yvette Audain: An Irksome Vengeance 

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And every sparkle shivering to new blaze,
In number did outmillion the account
Reduplicate upon a chequered board

Dante, The Divine Comedy – Paradise XXVIII
Translation by Rev. H.F.Cary (1814)

Observe the circle nearest, and know
the reason for its spinning at such speed
is that Love’s fire burns it into motion.

Dante, The Divine Comedy – Paradise XXVII
Translated by Mark Musa (1995)

In Canto 28 of Paradise, Dante, the pilgrim, is faced with an unbearably piercing light reflected in the eyes of his beloved guide, Beatrice. He turns and sees nine ever decreasing circles burning and whirling at different speeds. These circles give off sparks that sing hosannas. Dante has seen a spherical universe with God at the centre. He asks why the universe is not really like this, Beatrice tells him that he is now seeing it from a spiritual rather than a physical point of view, and that the reason for the great speed of the inner circle “is that Love’s fire burns it into motion”.

This imagery of circles within circles whirling, burning and giving off sparks seems to demand some musical treatment. It suggests a number of musical ideas revolving around each other and establishing a smooth relationship, and the warmer notion of love setting these ideas in motion.

The quintet, which is in one continuous movement, revolves around five central ideas. These ideas are moved around like pieces on a chessboard, each trying to gain some strategic advantage in pursuit of a single objective. Two of these ideas provide the rhythmic drive of the piece. The first, hesitant, but gathering speed and rising in pitch, is introduced by the viola at the beginning. The second, direct and syncopated, is announced by all four strings when they play together for the first time, before it is taken up by the piano. The main source of melodic material is a quiet tune, a love song, that threads its way through the piece, played first by the two violins and viola. The full version is heard in a piano solo played simply in octaves. In another guise this tune becomes the fourth idea, a fast dance that gathers momentum as the quintet reaches its climax. The fifth idea, fast accumulating scales, links the melodic and rhythmic elements and helps provide energy. The piece begins with a piano chord, which becomes a pivot for all these ideas and crops up in a variety of ways at crucial points.

And Every Sparkle Shivering is something like a mosaic composed by inlaying small tesserae of coloured stone or glass to create a sparkling over-all design. There is conflict between the warmth and vigour of sparking fire and spinning circles, and the coolness of glinting stone and flickering glass.

• Cresswell: and every sparkle shivering; computer-set 

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• Cresswell: and every sparkle shivering; computer-set 

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

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There are two main forces shaping this work, which could be thought of as an “internal” force and an “external” force. The internal force is a process of growth that begins with a complex event heard towards the end of the composition. Variations of this event fan out in all directions across the work’s temporal space, ensuring that every event has a relationship, however distant, to every other event. The detailed crafting of each event, with its constant microscopic fluctuations in pitch and timbre, reflects the detailed activity in a spectral analysis of the title of the piece, a line from one of Ezra Pound’s ‘Cantos’. This analysis is expanded to have the same duration as the composition, so that the entire work is, on one level, an elaboration of a few seconds of spectral activity. The harmonic content of the spectrum is not, however, reflected in this rendering, but rather the morphology, with its evocative twistings, compressions and expansions. The harmonic organisation forms a third structural layer. It originates in the first five odd numbered partials of the natural harmonic series, built on the log ‘G’, an octave below the bass clef. Each partial forms the centre of a narrow band of pitches, from which the “melodic” material is drawn. Ultimately, however, the resulting contrapuntal writing is largely submerged in the surface timbral activity, as the other two structural layers tear at and distort its fabric.

• Hall: and the snow's lace is spread there...; facsimile 

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• Neville Hall: and the snow's lace...; audio 

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• Two Works by Neville Hall 

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Angst: an acute but non-specific sense of anxiety or remorse (Collins Concise Dictionary). This is not intended to be an easy-listening, carefree piece. I wanted to portray a deep-seated sense of angst, creating a feeling of uneasiness in the listener. The flute and cello bear a similar angst, at times dealing with this independently, yet always returning to share in their anxiety. Quarter-tone inflections disconcert the harmonies, with tremolo, flutter-tongue and a recurring minor ninth adding to the tension. The material gradually unravels, only to fold in on itself again, remaining unresolved.

• Morgan: ...and yet, not; computer set 

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• Morgan: ...and yet, not; computer set 

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• Rachael Morgan: ...and yet, not; audio 

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• Works by Rachael Morgan 

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• Brownlee: As if to catch the fleeting tail of time; computer-set 

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• Brownlee: As if to catch the fleeting tail of time; computer-set 

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• Philip Brownlee: As if to catch the fleeting tail of time; audio 

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• Philip Brownlee: As if to catch the fleeting tail of time 

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• Two pieces by Philip Brownlee 

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• Rimmer: At the Base of the Whirlpool; computer set 

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• Rimmer: At the Base of the Whirlpool; computer-set 

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• 175 East vol. 4  Year: 1999 

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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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• Ross Harris: At the Edge of Silence - hardcopy score & parts 

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• Ross Harris: At the Edge of Silence - downloadable PDF 

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• Ross Harris: At the edge of silence; audio 

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• IAMIC Concert 2006 with Gageego! 

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• Stroma plays 'At the Edge of Silence' by Ross Harris 

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• Premieres 2004, Volume 3 

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