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‘blessed unrest’, was one of six short pieces commissioned by the New Zealand Trio as “attention-grabbing”, programme opening pieces. They wanted something that would start a concert “with all guns blazing”; a piece that ought to be “high-impact, dynamic and edgy”. It took a long time until I found something that I thought satisfied this demand, as I didn’t want to write an obviously motoric pulse-based piece. I wanted to create a sense of pent-up energy and its release in bursts. Many approaches were tried and rejected and while this was going on I came across the quote that gave the piece its title. I don’t think my dissatisfaction with earlier versions of the piece was either ‘queer’ or ‘divine’ and I dislike the lofty tone, but parts of Martha Graham’s statement nevertheless resonated with me: “There is vitality, a life force, a quickening that is translated through you into action, and because there is only one of you in all time, this expression is unique. If you block it, it will never exist through any other medium and be lost. The world will not have it. It is not yours to determine how good it is; nor how it compares with other expressions. It is your business to keep the channel open. You do not even have to believe in yourself or your work. You have to keep open and aware directly to the urges that motivate you. Keep the channel open. No artist is ever pleased. There is no satisfaction whatever at any time. There is only a queer divine dissatisfaction; a blessed unrest that keeps us marching and makes us more alive than the others.”

• Gardner: blessed unrest; computer-set 

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• Rimmer: Burning the Calories; computer-set 

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• Rimmer: Burning the Calories; computer-set 

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• Rimmer: Burning the Calories; computer set 

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A canon for three on eleven notes of the chromatic scale; in eight sections and a coda. Composed for the Auckland Philharmonia Ensemble Philharmonia concerts, where this canon received its first performance in November 2006.

• Carey: Canon for Three; facsimile 

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• Carey: Canon for Three; facsimile 

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Clarinet Quintet was commissioned by Christopher Marshall for his chamber music series “Christopher’s Classics” in 2006. It was written for Gretchen Dunsmore, clarinet, and The New Zealand String Quartet, for a premiere performance on September 13, 2006. The composition was also written as part of the composer’s work at The University of Otago. The point of departure in this work is Mozart, in the year of his 250th anniversary. Motivic ideas are derived from the opening melody of his Clarinet Quintet, using a magic square to transform the pitches. No direct reference is made to the Mozart theme until the third movement, which is more diatonic in character.



The first movement begins mysteriously, with a clarinet solo interspersed with rustlings from the strings. This solo contains the seeds for the entire movement, which is fast, lively and angular, following the slow introduction. A more moody and edgy middle section gradually builds up to a climax near the end of this movement. Contrasting with this is a slow middle movement that opens with a simple and bold statement on the strings. Over the top of this the clarinet plays a lamenting melody. The first four notes are a quotation from the composer’s opera The God Boy (Mrs Sullivan’s motif) signifying anxiety and guilt. A slightly calmer middle section is free in tonality, and builds up strongly in intensity, followed by an abridged return to the opening. The finale is a ‘moto perpetuo’ movement in which the diatonic opening idea is undermined by subtle tensions in the music. Although it is fast-paced and lively, it is also weary and uneasy in tone. A rousing final section leads to a quiet, fading coda, as the life in the music is gradually exhausted.

• Ritchie, A.: Clarinet Quintet; computer-set 

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• Ritchie, A.: Clarinet Quintet; computer-set 

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• Ritchie, A.: Clarinet Quintet; computer-set 

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• Two works by Anthony Ritchie 

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Written for the Continuum Ensemble of Toronto for the first concert of their 2006-07 season in October 2006, this piece appeared in the program along with Music to Boil an Egg By for bass clarinet, piano, triangle and narrator. The concert had a “remix” theme- composer John Oswald was invited to remix the other pieces appearing on the program in his own way. I decided to follow this concert theme and largely based this Elegy on material from Music to Boil an Egg By. During composition my thoughts turned to the daily headlines of war, hardship and loss in various parts of the globe; the flavour of the piece reflects this, as does its title.

• Carey: Elegy (for a known); facsimile 

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• Carey: Elegy (for a known); facsimile 

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• Carey: Elegy (for a known); facsimile 

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• Body: Fire in the Belly; computer-set 

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• Body: Fire in the Belly; computer-set 

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• Jack Body: Fire in the Belly; audio 

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• Jack Body: Fire in the Belly; video 

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• Psathas: Helix; computer-set 

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• John Psathas: Helix  Year: 2011 

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FB: ‘I may very often be discontented and loathe myself but I’m not trying to bring that out. Nor have I a disgust with life. Life is all we have. I mean, here we are for a moment.’ (1984)

Here we are for a moment is a response to the work of Francis Bacon, though is not representative of any particular Bacon painting; rather it attempts to go beyond the dramatic and violent and capture the insistent energy, the malleability of forms, and the vitality of Bacon’s work. Here we are for a moment was written between January and July 2006 for 175 East.

• Holloway: Here we are for a moment; computer-set 

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• Holloway: Here We Are For A Moment; computer set 

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Hineteiwaiwa is a wahine atua – a Maori goddess – the exemplary wife and mother who provided the pattern that all women follow. She assists at the entrances into and the exits from the world, with rituals concerned with tattooing of the lips prior to marriage, with the raising of tapu, and she is credited by some iwi with the introduction of weaving into the culture. Generally, she supports the role of women in traditional society. Hineteiwaiwa was written at the time that Tungia Baker, herself an exemplary wahine toa, or woman of strength, was dying, and is dedicated to her memory. In the improvisatory sections, which are guided and shaped by the taonga puoro player, there are few indications in the score. Generally, the improvisations involve the percussionist. Maori texts, devised and sung by the Kaikaranga, may be integrated into these sections. Also embedded in the improvisatory sections of the piece is a separate vocal composition by Aroha Yates-Smith, woven around the attributes and quality of Hineteiwaiwa.

• Whitehead: Hineteiwaiwa; computer set 

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• Whitehead: Hineteiwaiwa; computer-set 

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• Whitehead: Hineteiwaiwa; computer-set 

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‘Intaglio’ is a printmaking technique in which an image is etched or engraved on the surface of a plate. Ink would then be applied to the plate and removed from the surface, leaving ink only in the incisions. The title refers less to the work itself than to the process of composing it, a small insight into my ideas about how material manifests in musical shape. This piece is written in three uninterrupted movements.

• Gendall: Intaglio; computer set 

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• New Zealand Premieres Volume 2 

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• Two Works by Chris Gendall 

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