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• Freed: Sounds and Winds of Wellington; facsimile 

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• Freed: Sounds and Winds of Wellington; facsimile 

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• Besser and Prosser: Dark Wind Spring Rain  Year: 1986 

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• Besser and Prosser: 2 Islands  Year: 2004 

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This Suite is dedicated to Lou Harrison, the ‘Usonian’ (and Californian) Composer, who was in New Zealand in 1983 as a Fulbright fellow. He encouraged my interest in writing for the harpsichord, and in modal writing and turnings; he also gave a marvellous African-style performance on the little mbira (thumb-piano) from Cameroon that my wife had given me some years previously. The tuning of this instrument provided a scatter of eight notes oven two octaves; these eight notes form the basis of the modes used throughout the suite. In the second and fourth movements, which are labelled Giuoco meaning play, I have also used the thumb-piano style of alternation hands and kept fairly literally to the instrument’s actual pitches. The other three movements oscillate between modes based on C and A throughout. I have tried to avoid mechanical motor-rhythms and to bring out the instrument’s expressive and phrasing possibilities.

• Farquhar: Suite for Harpsichord; facsimile 

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• Farquhar: Suite for Harpsichord; facsimile 

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• Rimmer: Symphony: The Feeling of Sound; facsimile  Year: 1990 

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• Auckland Philharmonia Orchestra: New Zealand Music 4  Year: 1992 

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This symphony has three movements. All three start with the same pulse (crotchet=60), and the third movement also ends at this tempo. Both the rhythmic conflicts in the music and its rhythmic connections (changes of tempo within a movement) are related in the ratio 3:2. This ratio also expresses the interval of a fifth, which is throughout an important arrival point and is the music’s final destination.These conflicts and changes are also associated with timbre: very often strings and brass are opposed with wind and percussion acting as mediators. The first movement is most concerned with conflicts. The opening idea announces this very simply with an opposition of two pentatonic modes (black and white keys on a keyboard), and this conflict remains unresolved at the end of the movement. The second movement alternates – combining slow movement and scherzo. The slow beginning presents an unwinding melodic line in the wind against a haze of overlapping chords on brass and strings. The fast scherzo breaks across this and tosses rhythmic fragments from section to section. The slow and fast are later combined, but in the end the fast wins, finishing the movement at breakneck speed. The third movement emphasises connections and resolutions.It is a set of variations on a chorale-like tune, starting at the basic pulse and gradually getting faster until the final variation, a quick waltz, is moving at three times the opening speed. From here the tempo shifts back and the chorale tune is combined with references to the beginning of the first movement.

• Farquhar: Symphony No.2; facsimile 

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• David Farquhar: Three Symphonies  Year: 2004 

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• Edwin Carr: Three Orchestral Works  Year: 1987 

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• Carr: Symphony; facsimile 

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• Edwin Carr: Three Orchestral Works  Year: 1987 

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A piano concerto in three movements. The work is based on the Maori creation legends. Each movement depicts a stage in this mythology – the coming of existence, the coming of life and the coming of death. Recorded by the Auckland Philharmonia Orchestra with pianist Michael Houstoun.

• Blake: The Coming of Tane-Mahuta; facsimile 

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• Auckland Philharmonia: New Zealand Music 2  Year: 1990 

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Commissioned in 1985 by the Wellington Regional Orchestra (now the Vector Wellington Orchestra) for a family concert under Sir William Southgate, as part of the 1986 New Zealand International Festival of the Arts in Wellington, The Emperor and the Nightingale has subsequently been performed by a number of New Zealand regional and youth orchestras.

• McLeod: The Emperor and the Nightingale; computer-set 

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• McLeod: The Emperor and the Nightingale; computer-set 

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• McLeod: The Emperor and the Nightingale; computer-set 

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• McLeod: The Emperor and the Nightingale; computer-set 

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• Jenny McLeod: The Emperor and the Nightingale 

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Scored for two SSATB choirs with two homs, this work sets a poem by Miguel de Unamuno in Spanish. This work has been performed in Australia, England and the USA, as well as throughout New Zealand.

It is a setting of a short poem by the Spanish poet Miguel de Unamuno (1864-1936) and begins by setting the text in a fragmentary manner, choosing single key words from the poem: canta (singing), luna (moon), sosegada (lulling), blanca (white), and sola (alone). Throughout, I have sought to evoke a mood of stillness and calm (except at the two main climaxes), and much of the writing consists of simple diatonic chords alternating between the two choirs. The work ends, as it began, alternating the words ‘canta’ and ‘luna’.

The unusual scoring came about through my friendship with a fine horn player and singer – a flippant comment about unorthodox combinations of forces (although I have heard one other work for horn and choir) providing the germ of idea which eventually did bear fruit.

The Moon is Silently Singing is one of my most widely preformed works internationally, having been heard in Australia, Canada, Germany, England and the USA.

• Hamilton: The Moon is Silently Singing; computer-set 

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• Hamilton: The Moon is Silently Singing; computer-set 

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• Hamilton: The Moon is Silently Singing; computer-set  Year: 2004 

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• New Zealand National Youth Choir: Te Roopu Rangatahi Waiata o Aotea Roa  Year: 1992 

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• The Moon is Silently Singing  Year: 1994 

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• Tower New Zealand Youth Choir: Winds that Whisper  Year: 1998 

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