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• Brownlee: As if to catch the fleeting tail of time; computer-set 

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• Brownlee: As if to catch the fleeting tail of time; computer-set 

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• Philip Brownlee: As if to catch the fleeting tail of time; audio 

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• Philip Brownlee: As if to catch the fleeting tail of time; video 

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• Philip Brownlee: As if to catch the fleeting tail of time 

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• Two pieces by Philip Brownlee 

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Hinetekakara is the ancestress of Aroha Yates-Smith, the kaikaranga (singer) who provided the idea and the text of this piece. Hinetekakara lived on the shores of Lake Rotorua with Ihenga, her husband or father, an eponymous ancestor of the Te Arawa people, when the land was still being settled after the arrival of the Te Arawa canoe from central Polynesia. The four cadenzas, for bassoon, alto flute, flute, cello and bassoon, and bassoon link improvised sections, in which all the instruments participate. The singer initially invokes, accompanied by putatara (conch shell trumpet), the spirit of Hinetekakara, then addresses rituals following the death of her future father-in-law (with putorino), and then the birth of her son (with pumotomoto, an instrument used to assist at child-birth). A voiceless improvisation on pupu harakeke (flax snail), an instrument presaging danger, is followed by Ihenga’s anguished lament as he finds the murdered body of Hinetekakara by the lake, by the place named for her, Ohinemutu, meaning the end of the woman. Finally, she is farewelled as her spirit returns to the afterworld.

• Whitehead: Hinetekakara; computer set 

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• Whitehead: Hinetekakara; computer set 

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• Tuhonohono 

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The march is connected with both military and alternative political gatherings. Trying to understand the form, I’ve been listening to Purcell’s Queen’s Funeral March, the conga playing of Quebec Summit protestors and the strangely military snap of Old Mother Hubbard (performed by the US Air Force Band). Revisiting this nursery rhyme, I was struck by the revolutionary aspirations of the last verse: The dame made a curtsey, The dog made a bow; The dame said, “Your servant,” The dog said, “Bow, wow.”

• Palmer: Mother Hubbard; electroacoustic part 

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• Palmer: Mother Hubbard; computer set 

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• Palmer: Mother Hubbard; computer-set 

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• Palmer: Mother Hubbard; computer-set 

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• Palmer: Mother Hubbard; computer-set 

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• Palmer: Mother Hubbard; electroacoustic part 

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• Music by Juliet Palmer I 

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• Psathas: Saxophone Concerto; computer-set 

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• Psathas: Omnifenix; computer-set  Year: 2006 

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• John Psathas: Omnifenix (part 3 of 3); video 

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• John Psathas: Omnifenix (part 2 of 3); video 

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• John Psathas: Omnifenix (part 1 of 3); video 

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• Omnifenix (Part 2 of 3); Brecker; video 

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• Omnifenix (Part 1 of 3); Brecker; video 

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• Omnifenix (Part 3 of 3); Brecker; video 

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• John Psathas: Omnifenix 

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• John Psathas: View from Olympus (Three Concertos) 

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• Grenfell and Psathas: Works 

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• Psathas: Omnifenix (Saxophone Concerto) 

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• John Psathas: Various Works 

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While the piece follows in a large part a pastoral ideal, darker elements at times emerge within the musical flow. I was thinking about the less savoury aspects of our ‘clean green’ country, the hidden (and not so hidden) consequences of land clearances and modern farming practices which are not in harmony with the environment. This lends the piece an almost elegiac quality, aided by the solo clarinet’s distinctive timbre and a repeated chorale heard near the end of each movement.

• Carey: Pastorale; computer-set 

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• Carey: Pastorale; computer-set 

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Puhake ki te rangi, which translates as spouting to the skies is a celebration of whales, and was written late in 2006 for the New Zealand String Quartet and Richard Nunns as a project undertaken while I was the CNZ/NZSM composer-in-residence, living in the Lilburn House in Wellington.


Although one section is based on a transcription of whale song, there is no programme to the piece – no confrontation with humanity, for instance. The guiding principles were the extreme range of whale song, the changing patterns of their song, and the image, given to me by the late Tungia Baker, of a whale in Campbell Island waters allowing seal pups at play to slide down her flanks over and over again until, tiring of the game, she flipped them gently away.


The taonga puoro (Maori instruments) used in this piece are all made from whale bone or the bone from the albatross, the whale’s avian counterpart. In the order they are played, the taonga are, the percussive tumutumu, made from the jaw of a pilot whale washed up on Farewell Spit, a karanga manu (bird caller) made from an orca tooth, two nguru (flutes) made from the teeth of sperm whales that stranded one in Tory channel and one at Paekakariki, two putorino koiwi toroa (instruments made here from albatross bones, which have two different voices, being played as flute or trumpet), made here from the wingbones of a wandering albatross from the sub-Antarctic islands and a young royal albatross from the Chatham Islands, a nguru made from the cochlea of a hump-backed whale and finally a putorino koiwi toroa, especially made for this piece from the rib of a right whale that beached at Cable Bay. Members of the Quartet play percussive instruments – whalebone tumutumu and tokere (castanets). All these instruments were made by Brian Flintoff.


In the score, the taonga puoro sections are improvised; mostly the quartet parts are notated, but sometimes the players are required to improvise.

• Whitehead: Puhake ki te rangi; computer-set 

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• Whitehead: Puhake ki te rangi; computer set 

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• Gillian Whitehead: Puhake ki te rangi; audio 

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• Gillian Whitehead: Puhake ki te rangi 

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• Gillian Whitehead: Puhake ki te rangi  Year: 2007 

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This Symphony is dedicated to the memory of my wife, Raydia, who died in 2001, and is based on material from my song-cycle, In Despite of Death, a work that she had been closely associated with. The Symphony follows the emotional shape of the song-cycle, moving from struggle and resistance towards acceptance. The first movement is the most substantial, and near the beginning introduces a three-note figure (on horns and trumpet), which permeates the whole work. The three final movements – scherzo, slow march and epilogue – are played without a break.

• Farquhar: Symphony No. 3; computer-set 

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• Farquhar: Symphony No.3 Remembered Songs; computer-set 

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• Works: Farquhar, Harris and Rimmer 

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• David Farquhar: Three Symphonies  Year: 2004 

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• Island Song  Year: 2010 

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We often think of the xylophone as an inexpressive colour instrument, best suited for slapstick cartoon music or to fortify those wonderful orchestral tutti by Shostakovich. However after hearing Brent Stewart play a virtuosic piece by a classmate of mine I realised that in the right hands a xylophone is actually not the ‘joke instrument’ it is commonly perceived to be. In its lower range it is capable of (almost) marimba-like sostenuto sonorities and its high range is brilliant and commanding, capable of cutting through the entire orchestra.

The Xylophone Concerto was written for percussionist Brent Stewart.

• Karlo Margetic: Xylophone Concerto - hire set 

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• Margetic: Xylophone Concerto; computer-set 

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• Margetic: Xylophone Concerto; computer-set 

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• Karlo Margetic: Xylophone Concerto 

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