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In January 1998 Gareth Farr was commissioned by the James Wallace Chariable Trust to write this Piano Trio for the Ogen Trio, a leading NZ ensemble. Taking its subtitle Ahi from the Maori word for “fire”, it received its debut performance in Auckland, NZ in March 1998 in the presence of the composer. The style of the work varies in each of the four movements: the flavour of a French lullaby predominates in the first; an intense and unrelenting second movement harbours overtones of a Russian military factory; whilst a Balinese pop-inspired fourth movement contains numerous gamelan-like effects. The brief third movement is merely a quiet interlude, with a melodic reference to the first movement. The composition stands in stark contrast to Farr’s previous works. He has experimented with stripping away the density characteristic of past compositions in favour of clearer textures, exploring classical form, and allowing a simplicity of line to come through and speak for itself.

• Farr: Ahi; computer-set 

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• Gareth Farr: Ahi; video 

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• Gareth Farr: Ahi; audio 

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• Ogen Trio - Piano Trios by Beethoven, Dvorak and Farr  Year: 1999 

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• New Zealand Trio - Spark  Year: 2004 

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• Ahi - The Ogen Trio  Year: 2008 

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The title roughly translatable as ‘conjunction’, Psyzygysm is an exhilarating chamber concerto that brings together an eclectic ensemble in support of the mallet percussion soloist. Psathas’ preoccupation with jazz and traditional music is synthesised in this work into an explosive, headlong rush. The piano, double bass and drum kit work together like the rhythm section of a jazz combo, the winds and string quartet feature wailing, Middle-Eastern-inspired melodies and the percussion quartet create a musical and visual focus to the piece that locks all the elements together. Psyzygysm is dedicated to the composer’s dear friend David Crossan, guardian techno-angel, saviour of computer crashes, and resurrector of long-lost files.

• Psathas: Psyzygysm; computer-set 

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• John Psathas: Ukiyo  Year: 2010 

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Because of the limitations of range of the instruments (only the piano has extremes of range), their different tuning systems and the fact that only the clarinet among the wind instruments has possibilities of extended techniques. This piece explores more “classical” ideas than some of my other recent pieces. The work uses a set of six notes as its basic idea: sounded together they have a restless quality, but the structure of the set provides both diversity and connection between the sound worlds of the piece.

Quintet is in a single movement with several sections. At the outset, a variety of ideas and textures are presented, not unlike moment form, but not using the extremities of classical moment form. A second section, over a piano pedal, initiates an exchange between the bassoon and other instruments. This leads to a rapid scherzo-like section, with a monodic trio. It is closely followed by a slow movement, based on a close-range melody that is a tribute to Hirini Melbourne, who died during the writing of this section. The oboe cadenza which follows is the structural centre of the quartet, and is followed by a reworking in reverse of the material already presented. The ending leaves the piece unresolved.

• Whitehead: Quintet; computer-set 

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• Whitehead: Quintet; computer-set 

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• Whitehead: Quintet and Alice  

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The piece draws metaphorical substance from the movements of air currents: spiralling eddies, flowing breezes, sudden gusts, expanses of calm disrupted by turbulent cross-currents. The title is taken from an essay by Francois Bayle, which discusses the phenomenology of musical experience in richly poetic language. While not to be taken literally, this phrase reflects the play of energies in the music, and the transfer of energy between different regions, an evanescent surface, subject to unseen subterranean forces.

• Brownlee: Sparks Among the Geysers; computer-set 

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• Brownlee: Sparks Among the Geysers; computer-set 

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• Philip Brownlee: Sparks Among the Geysers; audio 

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• Premieres 2004, Volume 4 

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• Two Works by Philip Brownlee  Year: 2004 

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