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• Moon: A Crown of Windflowers; facsimile 

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• Buchanan: A Garland of Haiku; computer set 

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• Jagger: A Mother's Carol; facsimile 

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• Rimmer: A Song of Humility; facsimile 

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• Cecilian Singers: Alleluia  Year: 2003 

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• Farquhar: ABC; facsimile 

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• Farquhar: ABC; facsimile 

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• Evans: Akaroa; computer set 

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• Evans: Akaroa; computer-set 

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The Carmina Gadelica, known in Gaelic as Ortha nan Gaidheal, is a six-volume collection of orally-transmitted prayers, poems, blessings and other material, collected by the folklorist Alexander Carmichael in the Highlands and Islands of Scotland in the second half of the nineteenth century. Carmichael subsequently translated this material, and edited the first two volumes. The death dirge An Tuiream Bais was published in the third volume, edited by Alexander’s grandson, James Carmichael Watson. I have set the first, fourth, fifth and sixth verses in the original Gaelic language.

• Shortis: An Tuiream Bais; computer-set 

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• Shortis: An Tuiream Bais; computer-set 

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• Carol Shortis: An Tuiream Bais; audio 

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• Hamilton: And Music Shall Untune the Sky; facsimile 

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• Hamilton: And Music Shall Untune The Sky; facsimile 

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This is the fifth consecutive piece for which I have taken the title from Ezra Pound’s “Cantos”. “And saw the waves taking form as crysta” struck me as being particularly musical, purely in metrical and phonetic terms. Initially, it was the phonetic content that was of particular interest to me, because I intended to break the line of poetry into its phonetic components and use these sounds as the basic material for the composition. As the listener will hear, this is, in fact, what I did. The complete line of text, with only a slight modification, can be heard towards the end of the work, but in “slow motion”, spread over some 60 seconds. What precedes this “exposition” is its own detailed deconstruction into some 88 “variations”, which simultaneously break down and develop its material. These 88 events are often layered and interact in a rather complex way, so are not heard as distinct or self-contained sound objects. Although I was originally more interested in the text for its sonic qualities, while working with it I became intrigued by the image of waves “taking form as crystal”. It seemed like an apt metaphor for the compositional process itself, with the fluid and mobile potential of sonic material gradually crystallising into a specific gestalt, interacting and connecting with surrounding material. The water image also encouraged me to follow through with an idea that I had been thinking about for some time – the notion of rhythmic fields radiating outwards from specific points in time, like ripples on the surface of a pond. The composition contains hundreds of these “ripple” structures, which overlap and interact with one another. The resulting rhythms were used to determing subdivisions of glissandi, timbral profiles and other features within the web of “events” that make up the composition. “And saw the waves taking form as crystal” was commissioned by the Radio Slovenia Chamber Choir. It is dedicated to Uros Rojko, with thanks for his support and encouragement during my first ten years in Slovenia.

• Hall: And saw the waves taking form as crystal; facsimile 

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This work was inspired by seeing interviews with returned servicemen on the television programme New Zealand at War. The emotional power of their recollections of long hidden experiences led me to look for ways to express my feelings about the horrors of war. The setting attempts to make a stark contrast between the imagery of the poetry and the music.
(Ross Harris 1996)

• Harris: ...and the final sky; computer set 

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