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This work uses four short passages from Canadian composer and ethnomusicologist, Colin McPhee’s famous account of his experiences while living in Bali in the 1930s. A joint composition between Jack Body and Wayan Yudane who composed the gamelan sections. A Creative New Zealand grant assisted the composition of this work.

• Body, Yudane: A House in Bali; computer-set 

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• Body, Yudane: A House in Bali; computer-set 

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• Body, Yudane: A House in Bali; computer-set 

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• Body, Yudane: A House in Bali; computer-set 

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• Body: A House in Bali; computer-set 

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Gossip! is a short work for spoken voices, the more performers the better, using quotations from gossip magazines. This work was first performed by The Committee on 29 May 2008, at The Wine Cellar, Auckland.

• Audain: Gossip!; facsimile 

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• Audain: Gossip!; facsimile 

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A piece which combines contemporary classical music with Hip Hop/ Poetry.

• Crehan: Honesty; computer-set 

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• NZ Premieres 2008 Vol. 1 

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• Buchanan: Late Song; computer set 

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• Buchanan: Late Song; computer set 

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• Ellis: Play Some Metallica; computer-set 

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• Ellis: Play Some Metallica; computer-set 

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• Robbie Ellis: Play Some Metallica 

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A reaction against the Student Loan Scheme and increasing collective student debt in New Zealand.

• Hextall: The Price of the Mass Production of Knowledge; computer-set 

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• Hextall: The Price of the Mass Production of Knowledge; computer-set 

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Three Windows in the Weather was written after a six-day visit to Dusky and Doubtful Sounds in Fiordland in October 2007. Ten artists (poets, visual artists, a composer and a film-maker) travelled on the Breaksea Girl to create work as a fund-raiser for the Caselberg Trust, who are restoring the Broad Bay house of Anna and John Caselberg for use for artist residencies.

Richard Henry was possibly New Zealand’s first conservationist, who rescued kakapo and other endangered birds, creating a sanctuary on Resolution Island, until, several years later, he saw a stoat swimming nearby, and realised the sanctuary was compromised. The second poem, Wet Jacket Arm, makes reference to the threatened biodiversity of the region, and the third refers to a gale experienced one night on the Breaksea Girl.

The official first performance, with Greg O’Brien reading his own poems, was in St Paul’s Cathedral in the Otago Festival of the Arts on October 8th, 2008. A ‘preview’ performance was given on September 26th by Ben Hoadley and Emma Sayers with Bill Manhire reading.

• Whitehead: Three Windows in the Weather; computer-set 

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• Whitehead: Three Windows in the Weather; computer-set 

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• Gillian Whitehead: Three Windows in the Weather 

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• Gillian Whitehead: Arapātiki CD  Year: 2012 

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Central Otago holds a special place in the hearts of many people. This is clear to see in the wonderful book called ‘Timeless Land’ which combines the paintings of Grahame Sydney with the writings of Brian Turner and Owen Marshall. We decided early on to focus on the Maniototo, which is Grahame’s spiritual heartland and which has inspired so many of his great works. For me the Maniototo suggests a variety of feelings: awe at the expansiveness of the land and the surrounding ranges. There is the exhilarating beauty of the different seasons: the Autumnal colours for instance, or the bleak Winter images. There is the strange sense of freedom and escape that one experiences driving through the Maniototo. There can also be an overwhelming sense of loneliness, and feelings of insignificance when placed in such a vast, un-peopled landscape. Then there are the reminders of human impermanence, with decaying and abandoned structures, old graveyards and memorials. The Maniototo will mean different things to different people, but in this work I have tried to portray it in sound, as I feel it in my heart. So the music is not simply descriptive, or impressionistic; it also reflects human moods and emotions. While the music is designed to be combined with images, it can also stand alone. There is a loose symphonic structure in the four movements, with recurring themes and motifs. Most significant of these are the opening cornet melody, and an assertive cornet call that first appears in the middle of the second movement. This cornet call has a vague connection with The Last Post, and becomes a reminder of death in the third movement. Most themes and ideas in the music derive from the manipulations of a 5-note motif, using magic squares. The 5-note motif, which is never openly revealed in the piece, comes from a short Magnificat, composed at the time of my mother’s death in 2001.

• Ritchie A.: Timeless Land; computer-set 

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Two Soviet Love Songs for Vocalizing Pianist were composed in December 2003. The idiosyncratic mannerisms of performers have long fascinated me. Often I find myself guilty of habits potentially disturbing a performance. The unconscious movements or noises one makes while performing, however, are inevitable and, perhaps, better not to be avoided. They are there for a good reason. It would be unthinkable if Glenn Gould were asked to play without humming of gesticulating. In fact these two pieces were inspired to some extent by watching a video tape of Gould’s performance, as well as hearing the composer-pianist Frederic Rzewski performing his The Road. The pieces were originally meant for the private entertainment of accomplished pianists who also like to sing, but, as I played them after their completion, I felt that their theatricality seems to demand an audience.

The two Soviet tunes are something I grew up with. They are still extremely popular in China and often heard in karaoke houses. In Katyusha, besides the tune itself, I also quote Shostakovich’s Tenth Symphony (the Scherzo movement) as well as a familiar American show-tune which Shostakovich himself once arranged for orchestra.

Gao Ping, Gao Ping – Chamber Music, NAXOS

• Gao: Two Soviet Love Songs for Vocalizing Pianist; facsimile 

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• Gao Ping: Two Soviet Love Songs for Vocalizing Pianist; video 

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• Gao Ping: Chamber Music  Year: 2006 

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• Hoadley: Winter I Was; facsimile 

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