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sampelong (Minangkabau flute) and recorders

• Rafiloza and Friends  Year: 1999 

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Written in 1972 for my daughter Katherine. She was at the time learning the guitar and I was endeavouring to teach myself the sitar from the Ravi Shankar book.. In attempting to marry the two instruments, the piece inevitably borrows bits from Indian music: the drone, the modal approach and the association of drumming with sitar-playing (though the “drummer” here is the guitarist). It remains however, basically western in concept: it is fully notated, the mode is Messiaen’s mode 2, and the sitarist is required to stop the tonic drone during the middle section of the piece allowing the guitarist to provide three substitute chords – in other words, “modulation”!

• Farquhar: Duet for Guitar and Sitar; facsimile 

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• Farquhar: Duet for Guitar and Sitar; facsimile 

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kecapi, clarinet, trombone, timpani, percussion, harp, piano, violin, viola, cello, double bass

This one movement work for chamber ensemble and Indonesian zither was composed especially for to Dody Satya Ekagustdiman who was artist in residence 2003 at Victoria University School of Music. The score is mostly graphic notation.

• Harsono: Geloria; facsimile 

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• Harsono: Gelora; facsimile 

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• William Harsono: Gelora and Death, the Hell 

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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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• Dylan Lardelli: Hiki-Iro - hardcopy score 

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• Dylan Lardelli: Hiki-Iro - downloadable PDF 

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• Dylan Lardelli: Hiki-Iro; audio 

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clarinet, clarinet/bass-clarinet, violin/viola, cello, percussion (marimba, 9 drums in high to low sequence, drum of fluctuating pitch, bass drum, 5 suspended cymbals, ching - Thai finger cymbals, bell tree, rasp, 2 woodblocks, 3 temple blocks, wood chimes)

This monodrama for mezzo soprano and chamber sextet, commissioned by Northern Arts UK, tells of the 14th century North of England warrior Henry Percy (Hotspur), seen through the eyes of Elizabeth Mortimer, in a striking ballad sequence written by Fleur Adcock.

Whitehead’s imaginative score combines exotic and arresting instrumental colours, a strong dramatic vocal line (often with flamboyant flourishes) and an admirable overall conception of the mood changes and tonal graduation of the work. (William Dart, NZ Listener)

She has the rare gift of knowing when to us nightmarish vehemences and when to be utterly straightforward and calm. (Roger Covell, Sydney Morning Herald).

• Whitehead: Hotspur; facsimile 

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• Whitehead: Hotspur; facsimile 

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• Gillian Whitehead: selected works 

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• Anthology of Australian music - Dramatic vocal music  Year: 1997 

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2222; 4331; gamelan; perc; strings gamelan: suling, kendang, ceng ceng, gongs, 2 gangsa, 2 calung

Jangeran seeks to bridge the musical gap between East and West: a Balinese melody is appropriated by the Western orchestra and is recast in a range of Western contexts. At various points a gamelan ensemble, embedded in the Western orchestra, emerges and reasserts ownership of the musical source materials while at other times the two bodies combine to explore new and strange syntheses of culture, movement and soundworlds.

Jangeran was commissioned and premiered by the Nusantara Symphony Orchestra in Jakarta in May 2005, conductor Edward Van Ness, with further performances in Osaka and Tokyo, Yogyakarta and Jakarta.

• Watson: Jangeran; computer-set 

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• Watson, C.: Jangeran; computer set 

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• Killin: Melody for Violin and Yangqin; computer-set 

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• Killin: Melody for Violin and Yangqin; computer-set 

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violin, Indonesian Zither (Kecapi)

• Agus and Friends  Year: 2001 

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choir, percussion, Rarotongan drums, guitars (students), Taonga Puoro (koauau), piano, clarinet in B flat, alto saxophone, horn in F, flute, guitar (advanced performer)

Nga Tapuwae o Kupe is a music drama directed by Rangimoana Taylor. It is based on the story of Kupe’s journey from Hawaiki to Aotearoa and his discovery of various landmarks around Whanganui-a-Tara / the Wellington region.

While this work maintains a strong Maori theme, with karanga, haka and waiata, as well it weaves in other Pacific and European elements.

For school choir, instrumentalists, dancers and kapa haka, this work was composed with the financial assistance of a composition grant from Queen Elizabeth II Arts Council, was first performed by 140 students from South Wellington Intermediate School in July 1992 for Artsplash, the Wellington Young People’s Festival.

• Fisher: Nga Tapuwae o Kupe; facsimile 

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• Fisher: Nga Tapuwae o Kupe; facsimile 

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• Helen Fisher: Works 1  Year: 1992 

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