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Jack Body  

14 Stations

Duration: 20' 00" Year: 2000
for amplified pianist

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Gillian Whitehead  

Arapatiki

Duration: 06' 00" Year: 2004
a "landscape prelude" for piano

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Annea Lockwood  

Ear-Walking Woman

Duration: 22' 00" Year: 1996
for prepared piano with amplification

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  • Programme Note

    For prepared piano and exploring pianist, uses the classic piano piano preparations: coins (to detune the strings), screws, wiring insulation sheathing, plus bubble wrap, a rubber ball and small wooden balls, two round stones, a bowl gong, mallets and a water glass. The piece was commissioned by Lois Svard, to whom it is dedicated and who has given many superb performances of it.

    When I started experimenting with these objects on my own piano, I found that even slight changes in the method of producing a sound evoked striking variants in sonic details, for example: rocking a stone gently between two sets of strings brins out several pitches and their overtones, iterating in unpredictable rhythms. Getting the stone to rock really hard adds higher pitches and at times the stone will turn over, setting of a new set of strings and pitches, which gradually fade away as the stone comes to rest.

    The work is set up as an open-ended exploration, in which have determined which ‘tools’ are to be used in each section, and the pianist is asked to listen closely to the sounds created by each action, and to explore further the variants which arise when she or he uses a little more pressure and change of speed, a slightly different wrist position, a different make of piano. I think of this experience as “ear-walking”, like a hiker exploring a landscape.

    Annea Lockwood

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Victoria Kelly  

Goodnight Kiwi

Duration: 03' 00" Year: 2004
a "landscape prelude" for piano

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    Everyone of my generation remembers the ‘Goodnight Kiwi’ – the animation that used to signal the end of television for the night in the days when we only had two channels to choose from.

    I remember the rare occasions I was allowed to stay up late enough to see the Goodnight Kiwi carry out his nightly duties. It was always way past my bedtime and therefore overwhelmingly exciting. But I always felt very melancholy afterwards. I would lie awake for hours thinking about the kiwi shutting down the power and climbing up to sleep in the sky. It seemed so final.

    As I was composing this piece in 2004, my mother was approaching the end of a long illness and she and I were going through a process of looking through photographs, telling the stories that accompanied them and wondering what
    lay ahead. It made me remember long summers, lawn-mowers, barbeques, pohutukawa trees at the beach and a time in life that wasn’t weighed down with responsibilities or fears for the future. This piece is an emotional landscape that tries to evoke that feeling of nostalgia, presenting childhood memories into which the future begins to creep.

    I imagined my mother was setting off on the same journey as the kiwi… wandering through the building, shutting down the power and then climbing up to sleep in the sky. I wrote this piece for her.

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Gareth Farr  

The Horizon from Owhiro Bay

Duration: 03' 00"
a "landscape prelude" for piano

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