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In January 1998 Gareth Farr was commissioned by the James Wallace Chariable Trust to write this Piano Trio for the Ogen Trio, a leading NZ ensemble. Taking its subtitle Ahi from the Maori word for “fire”, it received its debut performance in Auckland, NZ in March 1998 in the presence of the composer. The style of the work varies in each of the four movements: the flavour of a French lullaby predominates in the first; an intense and unrelenting second movement harbours overtones of a Russian military factory; whilst a Balinese pop-inspired fourth movement contains numerous gamelan-like effects. The brief third movement is merely a quiet interlude, with a melodic reference to the first movement. The composition stands in stark contrast to Farr’s previous works. He has experimented with stripping away the density characteristic of past compositions in favour of clearer textures, exploring classical form, and allowing a simplicity of line to come through and speak for itself.

• Farr: Ahi; computer-set 

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• Gareth Farr: Ahi; video 

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• Ogen Trio - Piano Trios by Beethoven, Dvorak and Farr  Year: 1999 

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• New Zealand Trio - Spark  Year: 2004 

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• Ahi - The Ogen Trio  Year: 2008 

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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 

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• Two pieces by Philip Brownlee 

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“He Hides himself so wondrously, As though there were no God” Scottish Psalter 1615

• Harris: As though there were no God; computer-set 

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• Harris: As though there were no God; computer-set 

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• Ross Harris: As though there were no God; audio 

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• Premieres 2004, Volume 3 

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Broken Glass portrays a dialogue between two opposing natures about the passing of beauty as represented by the two instruments of guitar and violin. It is a meditation on how two people create the ending within themselves for their mutual story, and collaborate through both tension and surrender to bring that ending to life.

• Goss: Broken Glass; computer-set 

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• Goss: Broken Glass; computer-set 

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• Thomas Goss: Broken Glass 

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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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dans la nuit is based on a motif of a sustained note and a small range of glissandi notes. The motif follows an irregular rhythmic pattern which creates a feeling of uncertainty. The chromatic possibilities of the main theme have been explored and build on the initial uncertainty culminating in an atmosphere of apprehension and at times suspense. I was inspired to create this work after hearing a violinist improvising on a chromatic scale exercise.

• Toan: Dans La Nuit; computer set 

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• Toan: Dans La Nuit; computer set 

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The Fifith Suite was written for the organ in the Maclaurin Chapel in the University of Auckland, NZ, which is tuned in 1/5 comma Pythagorean meantone – so the five black notes are B flat, C sharp, E flat, F sharp and G sharp, and that’s it!

• Wells, J.: Fifth Suite; computer-set 

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• Jagger: Four Fantasies; facsimile 

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This work was a ‘top secret’ commission, premiered at a well-kept surprise birthday party for Bruce (earlier a pupil of, as well as later married for some years to, the composer).

Aidan Lang head of NBR NZOpera was MC for the evening, which was generously hosted by Jack Richards and attended by some seventy of Bruce’s friends, family and professional colleagues. The piece was received with acclaim (no critics invited!)

This is third McLeod song cycle to be set to poems by Janet Frame. It is also the most difficult, the vocal part receiving little support from the fairly independent piano accompaniment. (Note: it is largely beyond the scope of amateur performers, though certain gifted adult students may be able to cope with some of the songs.)

For the occasion a limited edition of five copies only of the score was printed (presented to Medlyn, Barnes, Richards, Greenfield & McLeod) with a specially designed cover by Roger Joyce, well-known designer and partner of Margaret Medlyn.

• McLeod: From Garden to Grave; computer-set 

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• Jenny McLeod: From Garden to Grave - hardcopy score  Year: 2011 

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• Waiteata Collection of New Zealand Music Vol. 12 - Jenny McLeod: Vocal & Choral Works  Year: 2011 

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Written during a month-long residency in November 2005 at the Visby International Centre for Composers, in Visby on the Swedish Baltic island of Gotland, this piece was inspired by the surroundings there- the history related to its importance in the Hanseatic League and prior to that the long Viking period; and in particular the old town with it’s beautifully preserved encircling medieval town wall.

The piece consists of seven descriptive historical episodes, and includes two poems to be narrated by the pianist in episodes 2 and 7- ‘Clouds’ and ‘Centuries’. The vocalisations are mainly sung, hummed and whistled sounds, along with the breaths of the third section indicating the onerous task of building the wall.

• Carey: Great Wall; facsimile 

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• Ross Carey: Great Wall; audio 

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