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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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• Twomey: Works by Ray Twomey; computer-set 

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• Twomey: Harp-The Herald Angels Play! (Opus 31); computer-set 

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• Twomey: Harp-The Herald Angels Play! (Opus 31); computer-set 

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• Twomey: Harp-The Herald Angels Play! (Opus 31); computer-set 

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• Twomey: Ray Twomey  

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These six pieces for piano should be performed in fairly low light with a slide projector displaying some of the most famous and revealing of Hubble’s photographs. The various movements interpret these images emotionally and symbolically. The music honours both Bach and Chopin – composers whose music, respectively, is considered the most technically proficient and the most poetic, thus recognizing the incredible technical accomplishment of the Hubble space telescope together with its revealing the poetic majesty of our awesome universe.

• Twomey: Images from Hubble; computer-set 

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• Twomey: Images from Hubble; computer-set 

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• Reflections - Music Composed by Ray Twomey 

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• Ray Twomey: Soundscapes  Year: 2001 

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• Norman: Inception to Infinity; computer-set 

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• Norman: Inception to Infinity; computer-set 

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• Matthew Marshall - Still Life with Guitar  Year: 2009 

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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; electroacoustic part 

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• Music by Juliet Palmer I 

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I got to know Euan Murdoch both as a friend and as a musician when he came to Dunedin to teach cello at the University some years ago. Everything about Euan encouraged me to write him a piece: his lively and warm personality, his huge enthusiasm for music and his brilliance as a player, plus a certain down-to-earth Kiwi quality that is refreshing to encounter within classical music circles. Having composed The Blue Sonata for him in 1999, I was approached by Euan to write something else. He had moved to Wellington for a job at Victoria University, and wanted a piece for Trio Victoria. I relished this opportunity to compose again for Euan, and for the others in the group, Doug Beilman and Thomas Hecht. During 2000 I came to the conclusion I needed a substantial break from composing, due to what might be termed creative ‘burn out’. I also wanted the time to reassess the direction I was heading with my music. Consequently, the trio commission arrived at a time where I felt the urge to experiment and come up with something a little different. Having said that, there are connecting threads with earlier pieces, particularly my Symphony No.2 which was premiered at the Wellington Arts Festival in 2000. Piano Trio was commissioned by Chamber Music New Zealand, with funding provided by Creative New Zealand.


The Piano Trio attempts to suggest psychological states through sound images. It is not directly programmatic but, as the titles of the movements suggest, there are distinct ideas and moods embedded in the music.


The first movement uses imaginary characters from childhood – Maggie Boy and Nice Boy – as representations of two sides of personality: the bad and the good, or the dark and the light. Maggie Boy has music that is barbarous, angular and dissonant. In the opening section a 12-note theme appears, providing the basis for much of the material that follows. Following a metric modulation (or change in note values) the violin and cello play a wispy, lyrical theme that portrays Nice Boy, while the pianist’s right hand tinkers away with 12-note themes, impervious to the sentiments of the strings. Maggie Boy returns in the final section of the movement, dispatching Nice Boy to the recesses of the mind.


The second movement, The Deamon, is concerned with neither good nor bad but rather the nothingness of depression, that caged state of mind where emotions and feelings seem to spiral inwards. Melodic lines twist and turn, trying to find a way out of the psychological cage. Reference is made to the 12-note theme from the first movement, as well as the ‘life and death’ theme from my Symphony No.2.


The third movement, Hyper-dyper is, as its title suggests, ebullient and almost frantically busy. An angular and jazzy opening theme is followed by a nervous, darting second theme featuring some special effects on the strings. The piano rudely interrupts proceedings and a playful but tense middle section follows, based on the 12-note theme from the first movement. In the Coda the ‘hyper’ quality dominates and the Trio comes to an end on a crunching discord.

• Ritchie, A.: Piano Trio; computer-set 

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• Ritchie, A.: Piano Trio; computer-set 

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• Ritchie A.: Piano Trio; computer set 

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• Premieres: Poynton, Ritchie, Whitehead 

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• Anthony Ritchie: Piano Trio  Year: 2001 

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• Anthony Ritchie: Chamber Music  Year: 2006 

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• Bowater: River of Ocean; computer-set 

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• Helen Bowater: River of Ocean 

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• Helen Bowater: River of Ocean 

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• Helen Bowater: Various Works 

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• NZ Women Composers Vol. 6 

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• NZ Women Composers Volume 4 

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• NZ Women Composers Vol 5 

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• New Zealand New Music in Scotland 

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• Works by Helen Bowater 

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• SOUNZfine Volume 5: New Zealand Women Composers 

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• Harris: Sleep, O beloved 

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• Harris: Sleep O Beloved 

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• The Big Sing Finale 2003  Year: 2003 

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So begins ‘La Vuelta al Reino Extranjero’, performed by the greatest son huasteco trio in Mexico, Los Camperos de Valles. Comprising the virtuosic violinist Heliodoro Copado, Marcos Hernandez’ extraordinary falsetto and the jarana guitar playing of Gregorio Solano, this trio sizzles to the words of a legendary trovador, Serapio El Gero Nieto. Rhythmic sleights-of-hand twist an already complex argument of two against three into an intoxicating ‘journey to a foreign kingdom’. The words of each verse were extemporized, the last line of each repeated as the first of the next, in an endless chain of surreal connections. Snap is a musical tourist’s album of this virtuosic performance.

• Palmer: Snap; computer-set 

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• Palmer: Snap; computer-set 

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• Palmer: Snap; computer-set 

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• Rimmer: Symphonic Triptych; computer-set 

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• Rimmer: Symphonic Triptych; computer-set. 

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• Rimmer: Symphonic Triptych; computer set 

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• John Rimmer: Symphonic Triptych  Year: 2002 

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