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violin, viola, cello, piano

• Buchanan: An Ocean Between Us; computer set 

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• Buchanan: An Ocean Between Us; computer-set 

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• Buchanan: An Ocean Between Us; computer-set 

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violin, cello, piano (some preparation required); all performers required to speak

Piano preparation: the strings between c’’’ and a’’’ need to have a flat metal object laid on top to achieve a bright, jangly ringing sonority (especially from mm 26-37). This/these to be removed by the pianist in the section from m 45.

The three strings F, G, A flat, should have firm rubber wedges between them to create a dull thuddy sonority (for the section at m42), but with a still discernible pitch

At water’s birth is a meditative, ritualistic work, whose sonic palette includes prepared piano sonorities and some vocalising from the players, including whispering, spoken words and whistling.

The pushing out of the boundaries of the conventional instrumental sounds is something I have employed in other works such as the whistling and knocking on the piano lid in small blue for piano and the bell and tamtam playing in Ring True. The meandering sections of the music suggest a relationship with the forces of water, its depth, currents and undercurrents and there is a sense of ritual in some of the chant-like rhythms.

• de Castro-Robinson: At Water's Birth; facsimile  

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• de Castro-Robinson: At Water's Birth; facsimile 

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• de Castro-Robinson: At Water's Birth; facsimile 

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• NZ Premieres 2008 Vol. 1 

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• NZTrio: Flourishes  Year: 2010 

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• Buchanan: Late Song; computer set 

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• Buchanan: Late Song; computer set 

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One winter morning, a short walk from the marae at Waihi, on the southern shore of Lake Taupo, I stood on the shore to watch the sun rise. Behind me, a waterfall lead to a small stream that flowed into the lake, imposing its own patterns on those of the lake. The water was uniformly grey, but as the sun rose, for a moment the tops of the ripples were golden, with darker valleys between, before the whole area was flooded with light. So the ideas behind this trio have to do with the changing perspectives of patterns in water – in the bubbling of streams, the tumble of a waterfall, in the spiralling eddies where stream meets lake at sunrise.

In the opening movement, a group of short themes and ideas initially form a mosaic-like section, which recurs in developed and varied forms around more reflective passages. The second movement reverses the first, in that slow, sustained sections are interrupted by more energetic material, and the final movement draws all the previous ideas together.

• Whitehead: Piano Trio; computer-set 

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• Whitehead: Piano Trio; computer set 

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• Whitehead: Piano Trio; computer-set 

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• NZTrio: bright tide moving between  Year: 2008 

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I welcomed this commission to write a small piece for Stephen De Pledge, but baulked a little at the idea it that should be related to landscape, a concept that can easily fall into cliché. But then all physical places are in fact landscape, including the street where I have lived for the last 35 years (echoes of My Fair Lady), in the city I love.

This work creates a counterpoint between my own voice and its ‘musical analogue’, as played on the piano.

• Body: The Street Where I Live; recorded part 

  Part - recorded | CD
  

• Body: The Street Where I Live; computer set 

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• Body: The Street Where I Live; computer-set 

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• Landscape Preludes  Year: 2011 

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• Jack Body: The Street Where I Live; audio 

  Media on Demand | Embedded
  

• Jack Body: The Street Where I Live; video 

  Media on Demand | External - video
  

• Jack Body: The Street Where I Live 

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• Stephen de Pledge - Landscape Preludes  

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• Stephen de Pledge plays The Street Where I Live by Jack Body 

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for three b flat clarinets, and one b flat bass clarinet

In the spirit of recycling, Timepiece uses music of the past in new ways. The three-note motif that pervades the work is a transcription of a bellbird song (previously used in my piece Bush Telegraph). I also quote from Mahler, The Beatles, and a famous clock tune.

Timepiece is a clarinet quartet, composed for The Committee’s ‘Clock Works’ concert in Auckland University’s Clocktower. In a minimalistic style, it includes hocketing, spatial effects, birdsong, and musical quotation.

• Willis: Timepiece; computer-set 

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• Willis: Timepiece; computer-set 

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  $14.00
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• Willis: Timepiece; computer-set 

  Score and parts | Hardcopy - computer set
  

• Willis: Timepiece; computer-set 

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Twitter portrays the sounds of birds that I heard in Western Park, Freemans Bay while running my dog. In this heightened reality you can hear a plethora of birds, ranging from small chirpy sparrows and mynahs to large more sonorous pigeons and magpies. Often the exuberant character of my dog slips in as well while he chases after birds. Throughout the piece I have used chromatic melodies and added note chords to depict the diverse pitches made by birds and syncopated rhythms to reflect the erratic nature of bird song.

The first movement has a bouncy feel to it. There is a reoccurring motif played by the soprano saxophone that is present much of the way throughout the movement. The added note chords and syncopated rhythms give off a jazzy vibe towards the end. I imagine the birds to be having a good time despite being teased by my Yorkshire terrier.

I have titled second movement the birds at at dusk. The movement opens with birds twittering which is characterized by flutter tonguing and sustained notes. Out of this comes a languid melody played by the saxophone. As time progresses the melody is passed around the instruments and the supporting notes grow into chords. The movement ends as the birds roost.

An active and insistent character saturates the final movement. The birds are darting around in all directions fighting over crumbs left by school kids at lunchtime and my buoyant companion is never out of the action chasing after them as they take flight. The movement is dominated by florid runs by the entire ensemble and syncopated rhythms that provide an unsteady platform for the pandemonium.

Robin Toan

• Toan: Twitter; computer-set 

  Score and parts | Pdf - computer set
  
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• Toan: Twitter; computer-set 

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• Toan: Twitter; computer-set 

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• Toan: Twitter; computer-set 

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Throughout the last two summers, a tui has sung the same uncharacteristically repetitive song behind my house. This melodic fragment appears as a cadential echo to the flow of the music. The most immediate image is of gentle fluvial movement, agitated by falling drops and stronger currents. Yet beneath the surface there is an insistence, an energy in suspension.

• Brownlee: Water Sketch with Tui; computer set 

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  $11.00
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• Brownlee: Water Sketch with Tui; computer set 

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  $14.50
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• Brownlee: Water Sketch with Tui; computer set 

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• Brownlee: Water Sketch with Tui; computer-set 

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• Philip Brownlee: Water Sketch with Tui; video 

  Media on Demand | Embedded