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• De Castro-Robinson: a pink-lit phase; facsimile 

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• De Castro-Robinson: a pink-lit phase; facsimile 

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• De Castro-Robinson: a pink-lit phase; facsimile 

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• Eve de Castro-Robinson 

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• A Chaos of Delight: music by Eve de Castro-Robinson  Year: 1998 

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• SOUNZfine Volume 4  Year: 2000 

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Transposed version of glimmer (1999).

• Gardner: brighter glimmer; computer-set 

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• Gardner: brighter glimmer; computer-set 

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• Hulford: Fascicle; facsimile 

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• Hulford: Fascicle; facsimile 

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• Hulford: For whom the bell tolls; computer-set 

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• Gardner: glimmer; computer set 

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• Gardner: Glimmer; computer set 

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• James Gardner: Selected Works 

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The title of the piece combines two Maori words “Matai” (sea) and “Rangi” (sky). The work is inspired by the Wellington environment, particularly tui birdsong and also both reflective and sparkling waters. It is perhaps best summed up by a New Zealand adaptation of some lines in T.S. Eliot’s Four Quartets: “After the [tui’s] wing Has answered light to light, and is silent, the light is still At the still point of the turning world.”

Matairangi – 2 for flutes (C-flute, alto flute and piccolo), viola and harp, was commisssioned by Catherine and Christine Bowie with funding provided by Creative New Zealand Toi Aotearoa, and it was premiered by Trio Bilitis on 13 July 1997 for the Wellington Chamber Music Society.

• Fisher: Matairangi-2; computer-set 

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• Fisher: Matairangi-2; computer-set 

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• Fisher: Matairangi-2; computer-set 

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• Helen Fisher: Matairangi  Year: 1998 

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• Gardner: Scuffle; computer-set 

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• Gardner: Scuffle; computer-set 

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The title Te Whanganui-a-Tara or ‘The Great Harbour of Tara’ is the original Maori name for Port Nicholson, commonly know as Wellington Harbour. I conceived the piece while living in the hillside suburb of Roseneath, where from certain vantage points the harbour lies enticingly at one’s feet in several directions. The piece is in three movements.

I. Entwining melodic figures on alto flute, joined by guitar and cello relate a time before any human presence around this body of water; the hills and valley are alive with the sounds of birds and insects.

II. Energetic motions convey the great Earthquake of the 1400s, which raised the land where Wellington airport now stands; the ensuing calm of the changed landscape is indicated by an ascending motif over an open fifth.

III. A contemporary portrait; the busy lives of the inhabitants scattered all around the quiet presence of the great harbour of Tara.

Written for guitarist Kazuhito Yamashita, the work received its premiere in ‘Green Concerts Volume Two’ held at ALTI Hall, Kyoto, in April 1995.

• Carey: Te Whanganui-a-Tara; facsimile 

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• Carey: Te Whanganui-a-Tara; facsimile 

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Three things:
1. Listening to Othello, drifting in and out of sleep, I hear Iago warn his master, ‘Beware my lord of jealousy! It is the green-eyed monster; cruelly aye it doth mock the meat it feeds on, and with its poison doth change our nature.’
2. A dislocated groove repeatedly interrupts a seduction in the ‘Earth, Wind and Fire’ song Can’t Hide Love.
3. Trellis: what my sweet peas climb up each summer. It’s loosely woven together from strips of wood – named after the light-textured Roman fabric trilicius, ‘woven with three threads’.

• Palmer: Trellis; computer-set 

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• Palmer: Trellis; computer-set 

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• Palmer: Trellis; computer-set 

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• NZ Women Composers Vol. 1 

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• Music by Juliet Palmer I 

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• 175 East Vol. 2 

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• Palmer: Selected Works I 

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• NZ Women Composers Vol. 3 

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In contrast to the singular, organic process of solo for cello this piece plays with the idea of juxtaposing contrasting fragments of material. It was stimulated by a book of dream symbols, in the form of simple gouache paintings, originating in the Rajasthan Gujarat area of Western India in the early 19th century. The book is one of any number of dream lexicons to be found in ancient eastern cultures that guided the interpretation of dreams using mythological and cultural symbols pertaining to fortune and destiny.

Although the Rajasthan Gujarat lexicon informs aspects of the aesthetic of the piece, it is not intended that the music function as an illustration of the visual images themselves. Rather: whereas the pictures seek to make concrete the ephemeral matter of the dream, the music embodies an attempt both to restore the subjective nature of the dreamscape and to reconstruct the grammar of its articulation in time – concentrated, disjunct and fleeting. This occurs perhaps in the way that one might attempt to reconstruct a paragraph in an archaic language from its written symbols, without having access to their original source or context, guided only by intuitions based on experience of one’s own language – in this case the ‘language’ of the dream. The title of the piece is borrowed from one of the images of the Rajasthan Gujarat lexicon.

Water Mountain was composed for Apartment House 1999. It has been performed in Reading, New Zealand (175E ensemble 2002), Seoul (ACL festival 2003) and Brighton (Soundwaves festival, 2007) and broadcast by Radio NZ.

• Ker: Water Mountain; facsimile 

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• Ker: Water Mountain; facsimile 

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• Dorothy Ker: Water Mountain (audio with score); video 

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• NZ Women Composers Vol. 2 

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• 175 East Vol. 6 

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• Works by Dorothy Ker 

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• 175 East vol. 4  Year: 1999 

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• Water Mountain  Year: 1999 

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• diffracted terrains: Chamber Music of Dorothy Ker  Year: 2007 

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