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This piece was inspired by the beguiling sounds of the aeolian harp to which I was first introduced by Chris Cree Brown. Said to have been first ‘discovered’ by the ancient Greeks, aeolian harps are intended to be played not by human hands, but by the wind. The strings vibrates through a range of harmonics creating an eerie effect difficult to describe.


Jack Body

• Body: Aeolian Harp; computer-set 

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This short piece was written as a twenty-first birthday present for clarinettist Esther Smaill. The melodic fragment heard at the outset soon skitters over its own unstable surface, mutates into fanfare-like repetitions, is spliced with momentary cantabile inserts, is interrupted by slow motion signposts, and blows itself out in a final burst of energy.

• Gardner: Charge; computer-set 

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• Gardner: Charge; computer-set 

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The electronic part for this work was prepared in the computer music studio of Simon Fraser University, Vancouver, using real-time granular synthesis to process samples produced by the viola. A small resource of bowed and plucked sounds has been treated in this way to produce a large-scale mosaic of sounds to background the solo viola part, which explores playing techniques involving small changes, drifts, in pitch. For instance the opening is played with the fingers in closer than normal position to produce rhythmic patterns on very small intervals, a technique which recurs as a sort of technical motto throughout, and later material makes considerable use of much larger slides to produce a very fluid melody in the upper reaches of the instrument.

The first performance was given by violist David Nalden in the
ExtravaCANZa festival at Victoria University of Wellington in November 1994. David Nalden describes ‘Drift’ as ‘a vast soundscape of seemingly infinite varieties of colour, pitch and rhythm which bore as much resemblance to the sequence of sounds in my initial recording as a luxuriant garden to a handful of seeds which had given it its existence.’

• Elmsly: Drift; computer-set 

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• Elmsly: Drift; facsimile 

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• Rimmer: Mahurangi; computer-set 

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• John Rimmer: Mahurangi; audio 

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The title refers primarily to the idea of a crag of land washed by the ocean. Hence the feelling of driving currents, eddies and waves. The suggestion of rock music is intentional too.
A contrasting lyrical section near the middle of the work bears the imprint of waiata, a type of traditional unaccompanied Maori singing which uses microscopic changes in pitch, vibrato, timbre and slides to obtain colour and musical expression.
Towards the end of Pacific Rock a fragment from New Zealand composer Anthony Watson’s 1969 Sonata for solo viola is included as a salute to a musical ancestor.

Notes taken from Toru, Atoll CD (ACD 143)

• Lodge: Pacific Rock; computer-set 

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• Lodge: Pacific Rock; computer-set 

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• 2005 Adam Chamber Music Festival - New Zealand Compositions 

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• Lodge: Pacific Rock  Year: 2000 

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• Viola Aotearoa  Year: 2000 

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• Sound Barrier  Year: 2006 

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• Toru - Chamber Music by Martin Lodge  Year: 2011 

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A sonata in three movements, composed while I was a student in Japan. The mood of the piece owes something to Shostakovich’s late Sonata for the same forces.

• Carey: Sonata; facsimile 

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Stillscape for solo viola was commissioned by Donald Maurice for performance at the Viola Convention at the University of Auckland, October 23-6, 1992. The title is perhaps the best indication of the atmosphere of the piece, but a tiny poem, The River, by Bill Manhire seems to say something similar in words: “The moon casts our shadows into the water. They drift over pebbles, watching us leave them.”

• Elmsly: Stillscape; computer set 

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• Elmsly: Stillscape; computer-set 

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• Tribute to Jack W.M. Speirs  Year: 2001 

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• Jameson: To Fly; computer-set 

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• Fritha Jameson: Selected Works  Year: 2001 

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The Viola Concerto proved to be so popular it has now been published as a sonata for players who don’t have an orchestra at their disposal. Senior students and professional players will enjoy this piece. It was released on CD by Kiwi Pacific (SLD-113) in 2006, with Donald Maurice (viola) and Emma Sayers (piano).

• Ritchie: Viola Sonata; computer-set 

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• Ritchie, A.: Viola Sonata; computer-set 

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• Anthony Ritchie: Chamber Music  Year: 2006 

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