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Commissioned in 2000 by the NZTrio, A Feather of Blue takes its title from a phrase in a poem called A View From A Window by New Zealand writer Kevin Ireland. I have always admired the wry humour and brightness of Kevin Ireland’s writing and many years ago set three of his poems for soprano and mixed ensemble. As a kind gesture Mr Ireland sent me a copy of his book of poems Skinning A Fish, and I was particularly struck by the imagery of colours, flowers, feathers and birds in this poem, which illustrates rain pouring down a window pane and giving way to a burst of sunshine after a storm.

Maria Grenfell

• Grenfell: A Feather of Blue; computer-set 

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• Grenfell: A Feather of Blue; computer-set 

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• Grenfell: A Feather of Blue; computer-set 

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• Grenfell: A Feather of Blue; computer-set 

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• New Zealand Trio - Spark  Year: 2004 

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• Crehan: At the Breaking Point; computer-set 

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• Crehan: At the breaking Point; computer-set 

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• Rimmer: Burning the Calories; computer-set 

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• Rimmer: Burning the Calories; computer-set 

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• Rimmer: Burning the Calories; computer set 

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• Rimmer: Burning the Calories; computer set 

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• John Rimmer: Burning the Calories; audio 

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• Psathas: Calenture; computer-set 

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• Psathas: Calenture; computer-set 

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• John Psathas: Calenture; video 

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• Psathas: Eight Works 

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• John Psathas: Calenture 

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• John Psathas: Rhythm Spike  Year: 1999 

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• Williams, M.: Diadrom; computer set 

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• Williams, M.: Diadrom; computer set 

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I heard Alanis Morrissette’s song Hand in My Pocket when I visited Canada in 1996. I’m intrigued by songs that we remember in spite of ourselves. When Alanis sings I’m short but I’m healthy, I’m high but I’m grounded I think of Greg Oh biking to NYC. I do hope that everything’s going be fine, fine, fine.

Juliet Palmer

• Palmer: Five; computer-set 

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• Palmer: Five; computer-set 

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• Juliet Palmer: Five; video 

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• Juliet Palmer: Five 

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• Gendall: GUNG-HO; computer-set 

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• Gendall: GUNG-HO; computer-set 

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• Chris Gendall: GUNG-HO; audio 

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• GUNG-HO - Virtuoso Works for Trombone - David Bremner  Year: 2009 

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• Buchanan: Late Song; computer set 

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Piano Trio No. 1 is in three sections.

Section 1 – Bars 1 to 25 The haunting opening theme gives a sense of imbalance and cross rhythm. This, combined with polytonality and energetic counterpoint typifies the wide scope of disparate expression contained in this work. The simple opening figures gain momentum and complexity in bar 2, then slow and slower until the robust introduction of the first of the round themes at bar 4. Varying degrees of counterpoint are juxtaposed in the succeeding phrases, along with the exploitation of three distinct themes in alternating patterns of rounds. The momentum is then diffused, winding down with trills and running semi-demi-quavers into the low bass of the piano alongside ponticello effects in the strings. Unexpected harmonies and intense flourishes are balanced across the timbre of the ensemble. Ultimately runs of harmonic glissandi mark the end of the opening section. The ending purposely engenders a sense of perplexity, of not knowing what next to expect.

Section 2 – Bars 26 to 67 Misterioso Bars 26-40 mark the first sub-section, followed by the second, bars 41 to 53 and the third, bar 54 to 67. Various devices, such as sequences and pauses are implemented to cause the momentum to surge and ebb. The different melodies and underlying contrapuntal fragments are in constant interplay throughout each sub-section. Each individual sub-section has a differing tone and timbre as different ideas come forth and are contemplated. The third section comprises a great fugue which is a quadruple rhythmic elongation of the primary theme from section three (‘Calypso’) that follows. This is treated in four parts contrapuntally, one of which is retrograde to the others. The rhythm gains momentum toward the end of the fugue to propel you into the third section.

Section 3 – Bars 68 to 158 ‘Calypso’ This lively, quick-paced, rambunctious section is hallmarked by virtuosic writing for all the instruments. Though not exactly in the style of a true Caribbean ‘calypso’, the repeated syncopation pattern in the piano gave rise to this title. Elaborate contrapuntal juxtapositions of past themes, with differing harmonies, clash and bounce off each other in a frenzy. The momentum is fuelled by the compelling refrain which first occurs at bar 94 and repeatedly in a chorus at the conclusion of the finale.

• Stabler: Piano Trio No. 1; computer-set 

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• Stabler: Piano Trio No. 1; computer-set 

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• Piano Trio No. 1 

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• Piano trio No. 1  Year: 2002 

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To celebrate the 100th anniversary of one of the greatest Russian composers, Dmitri Shostakovich, I contributed by writing this piece for piano trio. Attempts were made to capture the sarcastic, ironic and satirical nature of his music. However, I did not merely want to imitate his style, but rather to pay homage to what I think are some of the most powerful fundamental elements in his music.

There are often moments that are unmistakeably Shostakovich-esque, such as bars 41 to 73. Other times rapid time changes emphasizes the strong rhythmic pulse of this piece. The “coda” incorporates a Russian dance, which is even briefly interrupted by the man himself, with a stern expression on his face as if saying “What’s this nonsense?!”.

Scherzo for D.S was given its first performance at the CANZ Composers’ Workshop in Nelson in June 2007, followed by two more performances that year by the Bouterey-Ishido brothers, Jun and Yuuki, and myself in Christchurch.

• Lin, T.: Scherzo for D.S; computer-set 

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• Lin, T.: Scherzo for D.S; computer-set 

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• Tony Lin: Scherzo for D.S 

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