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• Carey: a pirouette; facsimile 

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An informal collection of short piano pieces, to which new pieces are added from time to time.

• Blake: Black on White; computer set 

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• Christopher Blake: Ribbonwood is Home  Year: 1998 

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• Carr: Doves of Peace; facsimile 

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• Carr: Doves of Peace; facsimile 

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• Georgina Zellan-Smith plays New Zealand piano works  Year: 2000 

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• Norman: Evening Romance; computer-set 

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This work was originally composed as a set of five pieces, and later revised as the present set of three. The middle piece is an arrangement of the well known Japanese folk song ‘Sakura, Sakura’, while the outer pieces feature variations of melodic phrases heard at different registers. The original set of five pieces was performed by Ross Carey at Victoria University of Wellington in March 1996. The revised set of pieces was first performed by Yuji Takahashi in his concert of 20th Century piano music in the series “100 Pianists of the Century” in Omiya, Saitama in February 1999. This performance was later released on the CD piano, volume 9 of Yuji’s “Real Time” series, on the FONTEC label (FOCD 3452).

• Carey: February Pieces; facsimile 

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• Carey: February Pieces; facsimile 

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At the turn of the 20th century, “nicklettes” were short films that you could see, of course, for a nickel (5 cents). They would usually only be a few seconds in length, but at that time very few people had seen moving pictures before. Therefore, they were a constant delight to those who would so indulge. My suite of little pieces for children is a series of similarly short musical portraits of historic place that I have visited through the USA.

• Davidson: Nicklettes; computer-set 

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• Davidson: Nicklettes; computer-set 

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• Stolen Music - New Compositions by Matthew Davidson  

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These pieces utilise Abelian form, a concept I developed whereby the proportions of a large form were reflected in its constituent parts. A large form, for instance, has sections A, B, C, D, and E, with respective durations t1, t2, t3, t4, t5. A, B, C, D, E also have subsections whose proportions are also t1, t2, t3, t4, t5. We can designate the subsections of A as Aa, Ab, Ac, Ad and Ae, and similarly for the others. The whole process can be shown in the following table: Aa Ab Ac Ad Ae Ba Bb Bc Bd Be Ca Cb Cc Cd Ce Da Db Dc Dd De Ea Eb Ec Ed Ee This looks like a mathematical Abelian Group – hence the name. The durations of subsections symmetrically placed about the leading diagonal (Aa, Bb, Cc, Dd and Ee) are also equal because duration of Ab = duration of Ba, duration of Ac = duration of Ca, etc. This fact led me to use the same material in matching subsections, often mirrored. In PIANO POEMS 1, 4, 8 and 9 I use this form; although the proportions are all equal, the Abelian shape determines the order. 1 Abelian form (3 X 3 matrix) with overlaps 2 a mirror piece 3 a chance piece: the contents of the four different chords and their order and the interruptions by the fist rolls were all determined by chance 4 Abelian form (4 X 4 matrix): all sections are four bars long. Subsection Ab is the mirror of subsection Bb, etc 5 Free form 6 Bogen form: A, B, C, C’, B’, A’, where A’ is the augmentation of A, etc 7 Free variations on a short melody 8 Abelian form (3 X 3 matrix): all repetitions are shortened 9 Abelian form (4 X 4 matrix) using fragments from sections 1 to 8

• Powell: Piano Poems; computer set 

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• Waiteata Collection of New Zealand Music Vol. 2 - Chamber Music  Year: 1997 

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• Buchanan: Birthday Music; computer set 

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• Buchanan: Rosebud; computer-set 

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• Carr: Ten Concert Studies Book 1; computer-set  Year: 1996 

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• Tahu Matheson plays Carr and Rachmaninov  Year: 1997 

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