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Performers begin at the top of a flowchart and work their way through, each choosing their own sonic adventure. Initially composed for redshift music.

• Anton Killin: citylife - downloadable PDF 

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This short work grew out of the middle movement. Originally composed for violin and strings, “Memorial” was first performed in a version for oboe and strings by the chamber orchestra of St Mary’s College, Auckland. It was suggested I might like to expand this into a larger work for oboe and strings, given there was a fine young oboe player in the school.

The completed concertino consists of a traditional three movement form: fast-slow-fast. The first movement has elements of Baroque period writing in it, including a short fugal section based on the opening melody. The second movement, “Memorial”, is a slow and poignant movement written at a time when New Zealand was experiencing a number of tragedies – the Pike River mining tragedy and the Christchurch earthquakes. The final movement, “Hoe-Down”, is a complete contrast, being a purely fun and rhythmic piece of writing suggesting the music of the old time western USA.

• Hamilton: Concertino for Oboe and Strings; computer set 

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• Hamilton: Concertino for Oboe and Strings; computer set 

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When Silencio Ensemble asked me to write the original piece, it was suggested that I write something inspired by or relevant to Canterbury – one possibility being a piece inspired by the landscape. In a funny kind of way, Mad Cow-Farmer’s Disease is inspired by the landscape – going to a Canterbury river and seeing the signs that say “Do Not Swim” or another where cows are loose in the riverbed and cow shit is all over the place.

It is inspired by dry riverbeds surrounded by farms with pumps constantly irrigating the land – the premise being that any ounce of water that makes it to the sea is wasted. These same farmers, self-titled “environmentalists,” use hypothetical science to justify their wanton destruction of the natural environment.

• Chris Adams: Mad Cow Farmers' Disease (Jazz Band version) - hardcopy score & parts 

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  $50.00
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• Chris Adams: Mad Cow Farmers' Disease (Jazz Band version) - downloadable PDF 

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  $35.00
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• Killin: Melody for Violin and Yangqin; computer-set 

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• Killin: Melody for Violin and Yangqin; computer-set 

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This sonata was written for an accomplished amateur violinist and pianist.

1st Movement: Begins with a smooth flowing melody over a restless accompaniment. A contrasting second theme is rather more active for the violinist. A third lyrical tune with its development is followed by a development of the second theme. The movement closes with the opening theme.

2nd Movement: A gentle opening is followed by a skittish theme which moves into a very strict march. this finally dissolves back to the gentle opening.

3rd Movement: A lively movement with a number of semiquaver, quaver figures, which eventually tune into quasi ‘circus music.’

4th Movement: This movement opens with a repeated note figure followed by a chirpy second subject. This is extended into a short development before a dramatic return to the repeated note theme, and ending with a final flourish!

• Graham Parsons: Sonata for Violin and Piano - hardcopy score and part 

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• Graham Parsons: Sonata for Violin and Piano - downloadable PDF 

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When Helen initially asked me to write her a lever harp piece, one option that arose in discussion was that of using a loop pedal. This created many possibilities for the piece, but also created limits in the way I could use certain material. After the expansive opening, Strata uses multiple layers built up of patterns played over top of each other. The constantly repeating riffs drive the piece, and the melodic material weaves around this, sometimes in sync and sometimes purposely against the underlying patterns. Strata was written while I was Mozart Fellow at the University of Otago in 2011.

• Chris Adams: Strata - downloadable PDF 

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• Chris Adams: Strata - hardcopy score 

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• Helen Webby: Pluck  Year: 2012 

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I composed this piece in March 2010 in response to the opportunity to write for the Chinese Yangqin (hammered dulcimer) played by visiting performer Wang Hui. Like the narrative of the poem, I wanted to work with an imagined journey, beginning in one place and returning there. However, the poem itself became the traveller in this case, written in China, brought to a foreign land where it is interpreted and transmuted into another form before being re-connected with its origin through the Chinese instrumentation and performer.

Carol Shortis

• Shortis: Thinking in the Moonlight; computer-set 

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• Shortis: Thinking in the Moonlight; computer-set 

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