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• Wells: A New Zealand Suite; computer set 

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• John Wells: From the Land of the Long White Cloud  Year: 1991 

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• Crehan: Aftermath; computer-set 

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• Crehan: Aftermath; computer-set 

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This song cycle for soprano and piano has texts by the composer in Maori and English.

“Awa Herea memorably evokes the physical appearance of symbolic significance of these braided rivers… cosmic weather-driven energy.” (Covell, Sydney Morning Herald).

“Its pace was shrewdly varied and the music encompassed a range of styles – from sung declamation to florid lyricism – without incongruity.” (Jack, Independent).

“The cycle displays all the characteristics of her [Gillian Whitehead’s] mature work. The vocal line is at once exultant and contemplative, the piano writing incisive or lulling; the formal shaping novel yet accessible. It is a memorable piece, filled with the energetic spirit of the natural world and finding through that spirit its own serenity.”

• Whitehead: Awa Herea; computer-set 

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• Whitehead: Awa Herea; computer-set 

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• Whitehead: Awa Herea; facsimile 

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• NZIAF: Gillian Whitehead Portrait; part 2 

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• Waikohu: Mere Boynton and Friends 

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• Tracey Chadwell's Songbook  Year: 1995 

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• Ears Wide Open Taringa Areare Education Resource CD  Year: 2000 

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• John Rimmer: Fleeting Images  Year: 1993 

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• Elmsly: Cello Symphony; facsimile 

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• Auckland Philharmonia: New Zealand Music 2  Year: 1990 

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Soloists: trumpet in E flat; clarinet in A Orchestra: 2+1,2+1, 1+Cl+1, 2+1; 4, Cl+2, 2+1,1; harp, piano doubling celesta, timpani, 4 percussion and strings (12,12,10, Cl+8,6)

• Bolley: Concerto for orchestra; facsimile 

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• Bolley: Concerto for orchestra; facsimile 

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This work could also be performed as Duo for Soprano and Cello.

• Duet for Soprano and Cello; facsimile 

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• Besser: Duet for Soprano and Cello; facsimile 

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• Jonathan Besser: Duet for Soprano and Cello 

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• Jonathan Besser: Duet for Soprano and Cello 

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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

• Lockwood: Ear-Walking Woman; facsimile 

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• Lockwood: Ear-Walking Woman - Lois Svard  Year: 2005 

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Orchestra:(1)2,2,2(1),2(1); 4331; timp., perc. (3), hp; strings. (Percussion: small and large suspended cymbals, tam tam, glockenspiel, vibraphone, xylophone, tubular bells, snare drum, 2 bongos, 3 tom toms, bass drum.)
Brass Band: sop cornet, solo cornet, 1st cornet, 2nd cornet, 3rd cornet, flugelhorn, tenor horn, baritone, tenor trombone, bass trombone, E flat euphonium, E flat bass, B flat bass

In composing this concerto I recognise two contrasting musical cultures within the European artistic tradition. The Brass Band represents what I call a ‘closed’ musical system portrayed by its standardised instrumentation heard to great effect in its stirring marches, sonorous hymn playing, contest pieces and arrangements of popular and show music, while the orchestra with its dazzling array of many instrumental colours, its flexible instrumentation and its potential for pushing musical boundaries, represents an ‘open’ musical system. I wanted also to exploit the virtuosic capacity of the brass band as a concerto soloist and to celebrate through this work the unity and solidarity amongst brass musicians.

Europa is a one movement work in five main sections which alternate slow atmospheric music with a fast and rhythmic style. The latter is heard in the many rapid passages which switch from band to orchestra and vice versa. Notable also is the relationship between the band and the orchestra particularly in the cadenzas for the brass band followed by the orchestral brass.

I was spurred into composing this work after reading about Europa, one of the large moons of the planet Jupiter first seen by Galileo in 1610 and named after a goddess of Greek mythology. Such thoughts were instrumental in generating my first musical ideas, for instance the name ‘Europa’ is represented by a six note melody heard throughout the work. However, my initial thoughts about Europa receded as I explored and developed the musical material. ‘Europa’ was commissioned by the Auckland Philharmonia. The work was first performed by the Dalewool Auckland Brass and the Auckland Philharmonia conducted by Miguel Harth-Bedoya on 13 June 2002 in the Auckland Town Hall.

• Rimmer: Europa; computer-set 

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• Rimmer: Europa; computer-set 

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• Rimmer: Europa; computer-set 

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• Rimmer: Europa (Brass Band score); computer-set 

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• Rimmer: Europa; computer-set 

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• Rimmer: Europa (brass band score); computer-set 

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• John Rimmer: Europa; audio 

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• John Rimmer  Year: 2002 

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• John Rimmer: Europa  Year: 2002 

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3[1.2.picc.]23[1.2.bass cl.]2; 4331; timp., 3 perc., harp, solo horn, strings

A concerto for horn and orchestra, Explorations- Discoveries was composed in the early 1970’s at a time when the James Cook bicentenary was being celebrated. Just as the famous sailor explored and discovered, so to the composing of the work.

The work is structured in five interrelated sections contrasting fast with slow preceded by a slow introduction and concluding with a slow coda. All these sections orbit a central palindrome.

The horn is treated both lyrically and dramatically. Its music covers a wide range of pitch and dynamics and the instrument frequently is in dialogue with the orchestral horns.

Explorations – Discoveries was first performed in 1975 at a studio recording by the New Zealand Symphony Orchestra conducted by Alex Lindsay with Marcel Lambert as the horn soloist.

• John Rimmer: Explorations-Discoveries - hire set 

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• John Rimmer: Explorations-Discoveries - hardcopy score 

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• John Rimmer: Explorations-Discoveries - downloadable PDF 

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