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Counting through the tones of ‘In a Landscape’ by John Cage, in the manner of counting a rosary. The title means an offering to Buddha; this is not so much a material offering but more that of a good heart.

Composed in Toronto in June, 2001 and first performed by the Natsuki Emura Piano Duo in a concert of New Zealand piano music at MusiCasa, Tokyo in October 2001.

• Carey: A Won for Buddha; facsimile 

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• Carey: A Won for Buddha; facsimile 

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This work is a cantata for soprano and tenor soloists, SATB choir, flute, cello and organ. The texts are drawn from Psalm 22, verses 1 to 11, and Psalm 31, verses 9 to 14 interspersed with two poems by Hone Tuwhare, Nocturne and A Disciple Dreams. The work closes with a gentle setting of the prayer Our Father.

• Hulford: Cantata: A Disciple Dreams; facsimile 

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• Hulford: Cantata: A Disciple Dreams; facsimile 

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Commissioned by the Schola Cantorum of Dunedin to celebrate its 125th Jubilee in 1988, this work for for soprano soloist, mixed choir and orchestra sets the first part of S. Francesco d’Assisi’s Canticle of Brother Sun.

The Canticle is an expression of the medieval belief in the beauty, goodness and intelligibility of the created world. It is also an expression of Francis’s own idea of all creation living in a spirit of fraternity and community. This vision of the total reconciliation of humanity with the universe is symbolized in a number of ways. One such is the ordering of the elements in pairs, which combine the masculine and feminine: sun-moon, wind-water, fire-earth.

In this setting, the soprano soloist represents the feminine principle, and the choir the masculine. A version of the work has been arranged for a smaller orchestra, with organ replacing the strings. The work has been described by one critic as “one of the most exciting and satisfying works for choir and orchestra by a New Zealander”, and by another as a work which “will undoubtedly continue to be performed regularly on account of its accessibility and performability”.

• Speirs: Cantico del Sole; facsimile 

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• Speirs: Cantico del sole; facsimile 

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• Speirs: Cantico del Sole; facsimile 

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• Cantico del Sole 

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The 100 Voice Chorale based on the North Shore of Auckland commissioned Denise Hulford to write a Christmas Carol for the Choir. After spending some time searching for a poem with a happy tone to it, and not being able to find anything suitable, Denise commissioned Jenny Pattrick to write a poem. The poem that Jenny provided was exciting, accessible and quite humorous. The final work was a fun and Christmas focused composition which was most successful, and approximately the length of a short Cantata. The work has been performed a number of times, and has always been well received.

• Hulford: Chritmas Bells; computer set 

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• Hulford: Christmas Bells; computer-set 

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• Cresswell: Eight Shaker Songs; facsimile 

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• Buchanan: Mary Magdelene and the Birds; facsimile 

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• Buchanan: Mary Magdalene and the Birds; computer-set  Year: 1993 

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• Buchanan: Mary Magdalene and the Birds 

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• Bellingham, Dennis, Rawson: NZ vocal music  Year: 2006 

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Whitehead has always had an affinity with the music of the sixteenth century, for three years she sang in Peter Godfrey’s choir at St. Mary’s Cathedral in Auckland, where the repertoire included Byrd’s four part mass. This experience meant that the writing of this work came naturally. Written while studying in Wellington, the Mass is one of the first of her works that Gillian heard performed; the Victoria University choir conducted by Robert Oliver sang selected movements, while its first complete performance, in an otherwise ‘all Bach’ concert by the Leonine Consort in Sydney, was broadcast on television. The reviewer of this concert, Roger Covell, wrote ‘Gillian Whitehead’s Missa Brevis easily rose to the challenge of justifying its presence, (showing) rare understanding of how to write for concerted voices; everything she calculated on paper worked in practice in this tenderly beautiful performance’. (Programme note by Emma Carle and Jack Body).

• Whitehead: Missa Brevis; computer-set 

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• Visions: New Zealand Choral Music 

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• Visions: New Zealand Choral Music 

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• Waiteata Collection of New Zealand Music Vol. 3 - Composer Portrait: Gillian Whitehead  Year: 2000 

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In this work, the first movement uses two Basque melodies (one of which is a Basque lullaby whose text contains only Basque nonsense words) for the first group and a “Bulgarianized” version of a Hungarian folk melody for the second in this short sonata form. The second movement is an arrangement of a 14th century melody by Guillaume de Machault, and the last owes something to Scandinavian folk music (the obscure title refers to a favorite Finnish dill-infused salad dressing that I like to make on occasion).

Music for Viola and Piano is dedicated to Rudolf Haken, Rachel Jensen, and my counterpoint teacher, Jack Melby.

• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; facsimile 

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• Talencourt  Year: 2008 

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This orchestral work was commissioned by the Gisborne Community Arts Council for the New Zealand Symphony Orchestra and celebrates 100 years of work by the Salvation Army in New Zealand. The work derives, although not obviously, from two tunes associated with the Salvation Army and the nature of the piece is that of an exclamation.

• Cresswell: O!; facsimile 

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• Cresswell - Two Works 

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• Lyell Cresswell: Orchestral Music 2  Year: 1992 

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This work is the string quartet version of Sinfonia, opus 11a, and is a musical autobiography. Ray was born in England and lived through seven years of destruction, spending many nights in air raid shelters listening to the sounds of total war. An air raid, with its sirens, the drone of bombers, bombs dropping and anti-aircraft fire can be heard in the first movement. The main theme, which occurs soon after the opening, reappears inverted after the air raid – symbolic of the utter chaos prevalent at that time. However, like the Phoenix rising from the ashes, the theme not only corrects itself but changes from minor to major modality near the end. The second movement represents New Zealand with its bitter-sweet memories for the composer. New Zealand is a beautiful country. The humorous third movement, called “England again” is scored pizzicato throughout, and leads to the final movement “Canada” – big Canada, magnificent Canada, vast Canada, noble Canada, free Canada, beautiful Canada…. the huge but simple harmonies near the end are Ray’s interpretation of the optimism he feels for the country.

• Twomey: String Quartet (Opus 11b); computer-set 

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• Twomey: String Quartet (Opus 11b); computer-set 

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• Twomey: String Quartet (Opus 11b); computer-set 

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• Twomey: String Quartet (Opus 11b); computer-set 

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• Ray Twomey: Soundscapes  Year: 2001 

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