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This work uses four short passages from Canadian composer and ethnomusicologist, Colin McPhee’s famous account of his experiences while living in Bali in the 1930s. A joint composition between Jack Body and Wayan Yudane who composed the gamelan sections. A Creative New Zealand grant assisted the composition of this work.

• Body, Yudane: A House in Bali; computer-set 

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• Body, Yudane: A House in Bali; computer-set 

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• Body, Yudane: A House in Bali; computer-set 

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• Body, Yudane: A House in Bali; computer-set 

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• Body: A House in Bali; computer-set 

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• Hall: a splinter of silence in the belly of time; facsimile 

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• Hall: a splinter of silence in the belly of time 

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• Neville Hall: Selected Works 

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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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Clarinet Quintet was commissioned by Christopher Marshall for his chamber music series “Christopher’s Classics” in 2006. It was written for Gretchen Dunsmore, clarinet, and The New Zealand String Quartet, for a premiere performance on September 13, 2006. The composition was also written as part of the composer’s work at The University of Otago. The point of departure in this work is Mozart, in the year of his 250th anniversary. Motivic ideas are derived from the opening melody of his Clarinet Quintet, using a magic square to transform the pitches. No direct reference is made to the Mozart theme until the third movement, which is more diatonic in character.



The first movement begins mysteriously, with a clarinet solo interspersed with rustlings from the strings. This solo contains the seeds for the entire movement, which is fast, lively and angular, following the slow introduction. A more moody and edgy middle section gradually builds up to a climax near the end of this movement. Contrasting with this is a slow middle movement that opens with a simple and bold statement on the strings. Over the top of this the clarinet plays a lamenting melody. The first four notes are a quotation from the composer’s opera The God Boy (Mrs Sullivan’s motif) signifying anxiety and guilt. A slightly calmer middle section is free in tonality, and builds up strongly in intensity, followed by an abridged return to the opening. The finale is a ‘moto perpetuo’ movement in which the diatonic opening idea is undermined by subtle tensions in the music. Although it is fast-paced and lively, it is also weary and uneasy in tone. A rousing final section leads to a quiet, fading coda, as the life in the music is gradually exhausted.

• Ritchie, A.: Clarinet Quintet; computer-set 

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• Ritchie, A.: Clarinet Quintet; computer-set 

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• Ritchie, A.: Clarinet Quintet; computer-set 

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• Two works by Anthony Ritchie 

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• Ross Harris: Fjärran - hardcopy score 

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• Ross Harris: Fjärran - downloadable PDF 

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Flute Quintet was composed as the major work for my Honours project in Composition. While some of the movements are programmatic, others have no program whatsoever attached to them.

• McKenzie: Flute Quintet; computer-set 

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• McKenzie: Flute Quintet; computer-set 

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• McKenzie: Flute Quintet; computer 

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• Music by Lachlan McKenzie 

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The four abstracts of the title represent a kind of conceptual continuum between emotional states – Solitude, Intimacy, Distrust and Panic. Gradually developing in momentum and intensity, the movements flick between different angles and stages of human relationships, subverting expectations in building a fragile structure of unease and compulsion.

• Taylor: four abstracts; computer-set 

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• Taylor: four abstracts; computer-set 

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• Taylor: four abstracts; computer-set 

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• Taylor: four abstracts; computer-set 

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The title ‘Grauschlieren’, meaning “grey streaks”, is taken from a painting by Gerhard Richter, and this torso for clarinet quintet is an attempt to render audible some of the notions of greyness, repetition and blurring prompted by Richter’s work.

• Gardner: Grauschlieren; computer-set 

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• Gardner: Grauschlieren; computer-set 

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• Gardner: Grauschlieren; computer-set 

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• Gardner: Grauschlieren; computer set 

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• James Gardner: Selected Works 

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Hineputehue translates literally as the woman of the sound of the gourd, and she is the Maori goddess of peace. The work was written in 2001, at the time of President Bush’s State of the Union address shortly before the invasion of Afghanistan, and suggests the fragility rather than the celebration of peace, particularly in a pre-European environment.

A number of instruments used in Hineputehue are made of gourds – the gourd, which carried food and water, is a symbol of peace. These include the poi awiowhio, a very quiet bird lure which is swung around the head, the tiny koauau ponga ihu or noseflute which ends the piece, the hue puru hau, a large gourd which is blown across its top opening and the gourd rattles played by the quartet. Two other wind instruments frequently made from gourds, the nguru and the ororuarangi, are also used. Other instruments are the putatara or conch shell trumpet, traditionally used for signalling, the pu kaea or war trumpet, a nguru niho paraoa or flute made from a whale’s tooth, the pumotomoto, associated with birth, and tumutumu (tapped percussion).

There is a similarity between the stringed instruments of the quartet and the gourds, in that they are made from plant material, with sound emitted through sound holes. Another link is the ku, the only stringed instrument known to Maori, which is a small musical bow played like a jaws harp (jews harp) using the mouth as a resonating chamber. The idea of ororuarangi, which can be translated as spirit voice (or double stopping in a different context) has had some influence on this piece as in the parallel movement of the strings.

• Whitehead: Hineputehue; computer-set 

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• Whitehead: Hineputehue; computer set 

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• Whitehead: Hineputehue; computer set 

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• NZIAF: Gillian Whitehead Portrait; part 2 

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• Whitehead: Bright Silence  Year: 2002 

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• Gillian Whitehead: Puhake ki te rangi  Year: 2007 

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Chamber music work for an unusual high piccolo flute and string quartet

• Ken Wilson: Introduction, Theme and Variations - hardcopy score & parts 

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• Ken Wilson: Introduction, Theme and Variations - hardcopy score 

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• Introduction, Theme and Variations by Ken Wilson 

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