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• Farr: From Forgotten Forests; computer-set 

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• Gareth Farr: Chamber Music  Year: 1997 

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The name hihi (“stitchbird”) has an onomatopoeiac quality which suggests the insistent call of this bird which is urgent, penetrating and strong. Hearing the striking call of the “hihi” on Tiritiri Matangi in the Hauraki Gulf inspired this piece.

• Bowater: Hihi; computer set 

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• Bowater: Hihi; computer set 

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• NZ Premieres 2008 Vol. 1 

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• Love's Nature  Year: 2011 

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• Guitar Aotearoa; computer set  Year: 1991 

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Like my piano solo Where the river flows, Otari (2004) for solo harp is inspired by one of my favourite Wellington places, Otari Bush near my home, which is a peaceful soundworld of birdsong, pools of stillness, and ebb and flow of wind and stream. The chorale-like theme that emerges towards the end is based on my Te Puna Waiora (Spring of Living Water).

Overall, Otari is shaped by some words in T.S. Eliot’s Four Quartets: " At the still point, there the dance is.."

This work is dedicated to Carolyn Mills, principal harpist for the New Zealand Symphony Orchestra, whose innovative and enthusiastic collaboration enabled me to explore some extended harp techniques as part of the composing process. In March 2005, Otari was premiered in United States and since then it has received several performances in New Zealand and the United States as well as at three international Harp Festivals – London, San Francisco and Adelaide.

• Fisher: Otari; computer-set 

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• Fisher: Otari; computer-set 

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• New Zealand Selection 2 

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• Hamilton; Pioneer Spirit; computer-set 

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• Hamilton: Pioneer Spirit; computer-set 

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• Bruce Paine: Guitar at Museum  Year: 2003 

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This piece is the result of a commission from Bryan Holden and the Auckland Mandolinata Orchestra. They wanted a work that could be premiered at an Auckland venue in October 2007, and which could then go on to a performance at an Australasian forum for players of mandolins and related instruments in 2008.

I was advised of the fact that for the premiere performance, a flautist and more than one accordion player would be available. However, at time of writing there looks to be no flautist, and only one accordion player, available for the Australian performance. Hence my decision to make the flute and accordion parts ‘optional’, with the piece able to be adequately presented using only the core ‘plectrum orchestra’ instrumentation as well. Needless to say though, it is ideal that the flute and accordion parts ARE present, as they add to the piece rather considerably, even though I couldn’t completely indulge in the creation of specifically-idiomatic solos for them!

Movement 1: in a cellar below street level
This initial inspiration for this movement came from the diverse range of musical activity presented at Auckland city performance venue The Wine Cellar. In this particular movement, listen to a tale told in music, of a hypothetical Medieval minstrel who would actually rather be a blues musician.
Movement 2: look’d @ stars
When international visitors come to Auckland, they are often blown away by the fact that even in the middle of the city, one can still see the stars in the night sky.
“look’d” = ancient; “@” = modern; “stars” = timeless.
Movement 3: SPARK!
Inspired by a gig I participated in at the beginning of November, the month which Guy Fawkes’ Night (a celebration marked by bonfires and fireworks) occurs – and there were indeed fireworks at this central Auckland gig that night.

• Audain: Three Auckland Nocturnes; computer-set 

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• Audain: Three Auckland Nocturnes; computer-set 

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• Audain: Three Auckland Nocturnes; computer-set 

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• Audain: Three Auckland Nocturnes; computer-set 

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• Audain: Three Auckland Nocturnes; computer-set 

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• Yvette Audain: Three Auckland Nocturnes; video 

  Media on Demand | External - video