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• Farquhar: Dance Suite from 'Ring Round the Moon'; facsimile 

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• Farquhar: Dance Suite from 'Ring Round the Moon'; facsimile 

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• Farquhar: Dance Suite from "Ring Round the Moon"; facsimile 

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• Farquhar: Ring Round the Moon Dance Suite; computer set  Year: 2007 

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• Elmsly: Dialogue III; facsimile 

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The electronic part for this work was prepared in the computer music studio of Simon Fraser University, Vancouver, using real-time granular synthesis to process samples produced by the viola. A small resource of bowed and plucked sounds has been treated in this way to produce a large-scale mosaic of sounds to background the solo viola part, which explores playing techniques involving small changes, drifts, in pitch. For instance the opening is played with the fingers in closer than normal position to produce rhythmic patterns on very small intervals, a technique which recurs as a sort of technical motto throughout, and later material makes considerable use of much larger slides to produce a very fluid melody in the upper reaches of the instrument.

The first performance was given by violist David Nalden in the
ExtravaCANZa festival at Victoria University of Wellington in November 1994. David Nalden describes ‘Drift’ as ‘a vast soundscape of seemingly infinite varieties of colour, pitch and rhythm which bore as much resemblance to the sequence of sounds in my initial recording as a luxuriant garden to a handful of seeds which had given it its existence.’

• Elmsly: Drift; computer-set 

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• Elmsly: Drift; facsimile 

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• Besser: Duo for violin and piano; facsimile 

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• Jonathan Besser: Duo for Violin and Piano; audio 

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• Jonathan Besser: Duo for Violin and Piano 

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• Lilburn: Duos for Two Violins; facsimile 

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• Strung - A Collection of String Music 

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• Instrumental Music: Douglas Lilburn 

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• Lilburn: Duos for two violins  Year: 1981 

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• Douglas Lilburn: Master Works for Strings  Year: 2011 

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• Crossman: Fierce Tranquility; computer set 

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• Crossman: Fierce Tranquility; computer set  Year: 2007 

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• Bruce Crossman: Intercultural Sounds 

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• Double Resonances - Bruce Crossman  Year: 2008 

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In this work, inspired by Paekakariki on the Kapiti Coast – ‘home’ during the composer’s six-week residency at Victoria University in 1989 – the relationship between music and environment is particularly strong. The cello’s low repeated D, which opens the piece, is the fundamental pitch heard in the sea and the restless semi-quavers evoke the continuous movement of waves crashing on the Paekakariki shore. Whitehead’s fascination with medieval philosophy and music, incorporating concepts of natural cycles, is reflected both in the title and in the compositional process, where magic squares were used to generate the background structure.
(Programme note by Emma Carle and Jack Body).

“This is a rich evocative piece that is never merely picturesque, as the title might suggest. It has a lyrical complexity reminiscent of Tippett… (it) achieves moments of great beauty.” (Tim Bridgewater, The Dominion).

“The highlight for me was the premiere of Gillian Whitehead’s Moon Tides, and Shoreline. … Perhaps there are marine associations to be heard in the score, but, more importantly, one appreciates the work’s cool and eminently logical form. The various musical motifs are inventive in themselves and intriguingly handled.” (William Dart, Music in New Zealand)

• Whitehead: Moon, Tides and Shoreline; facsimile 

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• Whitehead: Moon, Tides and Shoreline; computer-set 

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• Gillian Whitehead: Various Works 

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• Waiteata Collection of New Zealand Music Vol. 3 - Composer Portrait: Gillian Whitehead  Year: 2000 

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In this work, the first movement uses two Basque melodies (one of which is a Basque lullaby whose text contains only Basque nonsense words) for the first group and a “Bulgarianized” version of a Hungarian folk melody for the second in this short sonata form. The second movement is an arrangement of a 14th century melody by Guillaume de Machault, and the last owes something to Scandinavian folk music (the obscure title refers to a favorite Finnish dill-infused salad dressing that I like to make on occasion).

Music for Viola and Piano is dedicated to Rudolf Haken, Rachel Jensen, and my counterpoint teacher, Jack Melby.

• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; facsimile 

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• Talencourt  Year: 2008 

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Persephone is an abstract work for String Quartet. While the piece is not programmatic, the title did influence the piece, effecting the mood and the musical material.


Persephone was the daughter of Demeter and Zeus in classical Mythology. Hades abducted her and took her back with him to the underworld. As a result, Demeter, the goddess of the Earth, became so upset that plants stopped growing as she searched everywhere for her lost daughter. To stop Earth from dying, Zeus forced Hades to return Persephone. However, Hades tricked her into eating pomegranate seeds, which forced her to return to the underworld for a season each year. As a result, for four months each year, Persephone returned to the underworld and the earth became barren.


The piece begins with a number of different musical fragments which are developed and integrated throughout the piece and interspliced with a number of other sections. The conceptual images of moving between two different worlds evoked swirling chromatic semiquaver sections and the sense of viewing the world from another place added to the sense of distortion and fragmentation which is a feature of the work.

• Adams: Persephone; computer-set 

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• Adams: Persephone; computer-set 

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• Adams: Persephone; computer-set 

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• Adams: Persephone; computer-set 

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• Chris Adams: Persephone 

  Digital sound file - MP3
  

• Bisley: Prelude, Intermezzo and Dirge; computer set 

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• Bisley: Prelude, Intermezzo and Dirge; computer set 

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