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The music of ‘A West Irish Ballad’ follows the course of an anonymous Irish poem, and is influenced by Irish traditional music. Much of the musical imagery comes from the poetry, from the snipe and the ‘lonely bird in the woods’, to the developing ostinato reminiscent of church bells, and to the broader feeling of the landscape as I imagine it, and the deep emotion of Irish laments and love songs. ‘A West Irish Ballad’ was written for the Sydney Chamber Choir.

• Maclean: A West Irish Ballad; facsimile 

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• Maclean: A West Irish Ballad; facsimile 

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• Clare Maclean: A West Irish Ballad 

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• Clare Maclean: Complete Choral Music 

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Arapatiki was commissioned by Stephen De Pledge as one of a series of Landscape preludes, and received its first performance in the Wigmore Hall, London, in January, 2004. Arapatiki translates (from the Maori language) as ‘the way of the flounder’, and is the ancient name of the sand flats in front of my house at Harwood, near Dunedin. The piece has something to do with the advance and retreat of the tide across the flats, where many species of sea and water birds spend much of the day – an ever-varying water-scape. The opening idea is based on the song of the korimako or bellbird.

• Whitehead: Arapatiki; computer-set 

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• Whitehead: Arapatiki; computer-set 

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• Landscape Preludes  Year: 2011 

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• Gillian Whitehead: Arapatiki; video 

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• Gillian Whitehead: Various Works 

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• Stephen de Pledge - Landscape Preludes  

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• Stephen de Pledge plays Arapatiki by Gillian Whitehead 

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• Tuhonohono: Music by Gillian Whitehead 

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• An Interview with Gillian Whitehead 

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• Stephen de Pledge: Three Landscape Preludes  Year: 2004 

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• Gillian Whitehead: Arapātiki CD  Year: 2012 

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An “aubade” is a morning song; counterpart of a nocturne, it is literally a “song of the dawn.” The brightness of this Aubade is in simplicity, calmness, and tonal warmth. Written as an afterthought to the Rococo Sonatina, it shares some of the same influence of light jazz and impressionism, yet melded more to a modern chamber music aesthetic than an ancient one.

The piano opens with a simple three-note theme over a calm progression of seventh chords. Echoed by the flute, the theme develops into a more flowing and graceful line, ultimately resolving on a wistful note. A brisk, bird-like section follows, elevating the mood as the flute flutters and the piano scurries. A pensive cadenza leads the music back to the serene calm of the introduction, which leads to a final jazz progression that concludes the music in a different key.

• Goss: Aubade; computer-set 

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• Goss: Aubade; computer-set 

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• Thomas Goss: Aubade 

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• Biddington: Autumn Music; facsimile 

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• Eric Biddington: Tunes and Airs  Year: 1998 

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Black Sand began as an investigation of possible cello sounds and their variations, which I composed into a solo line using a devised compositional system, balancing initial conscious choices with chance elements. I also utilised an aleatory process to generate material for the rest of the ensemble by treating the possible gestural fragments in a number of categories (dynamics, articulation, instrumental technique, and orchestration). Underpinned by a rotational pitch structure, and due to the severe limitation on pitch and sonority, Black Sand unfolds as a bare and very atmospheric piece.

• Antonia Barnett-McIntosh: Black Sand - hardcopy score & parts 

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• Antonia Barnett-McIntosh: Black Sand - downloadable PDF 

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• Antonia Barnett-McIntosh: Black Sand; audio 

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• Antonia Barnett-McIntosh: Black Sand - downloadable mp3 

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The text for ‘Christ the King’ is taken from two poems by James K. Baxter: ‘Song to the Father’ and ‘Song to the Lord God on a Spring Morning’. The title of the piece comes from the feast day of October 25th in the church calendar, and the plainsong for this day is used in the opening and ending of the work. ‘Christ the King’ was written for the Sydney Chamber Choir.

• Maclean: Christ the King; facsimile 

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• Maclean: Christ the King; facsimile 

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• Clare Maclean: Christ the King 

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• Clare Maclean: Complete Choral Music 

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• Ker: Close-up of a Daisy; facsimile 

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• Dorothy Ker: snake, echo & beetles 

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• New Zealand Choral Music Vol. 1  Year: 1994 

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• The Big Sing Finale 2002  Year: 2002 

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This work was commissioned for the International Summer School in Choral Conducting in 1993. It is scored for two semi-choruses (SSA and SATB) with a large mixed-voice choir. The accompaniment is for piano duet and percussion. The texts are a mix of extracts from the Latin Te Deum and a 15th century text from India. The piece was conducted by the composer at the beginning of the final concert of the 1996 Melbourne International Choral Festival.

• Hamilton: Dance-Song to the Creator; computer set 

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• Hamilton: Dance-Song to the Creator; computer-set 

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• David Hamilton: Dance-song to the Creator 

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• New Zealand Choral Music Vol. 1  Year: 1994 

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Composed for Clarinet and Piano or String Orchestra. The Romance is Ray’s first composition and the Dance is based on an aria from the children’s opera “The Three Shepherds”.

• Twomey: Diversion; computer-set 

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• Twomey: Diversion; computer-set 

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• Ray Twomey: From the Garden of Eden 

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• Ray Twomey: Sinfonia  Year: 2001 

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Dry Shadows draws on the idea of fragmentary colouring, and the trajectory and resonance of these fragments through blending different combinations of the instruments. It inhabits a sparse world of very specific material and gestural flow. Intentionally discontinuous, Dry Shadows explores the sound relationships between and across the instruments. Sudden loud, spiky punctuations in the music, as well as the numerous more delicate colours and shadowy sonorities in between these interjections, give rise to a sense of mystery in the music.

• Antonia Barnett-McIntosh: Dry Shadows - hardcopy score & parts 

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• Antonia Barnett-McIntosh: Dry Shadows - downloadable PDF 

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• Antonia Barnett-McIntosh: Dry Shadows; audio 

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• Antonia Barnett-McIntosh: Dry Shadows - downloadable mp3 

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