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The tape part for A Bridge of Ice was recorded on Williamsburg Bridge, New Year’s Day, 1994. A Bridge of Ice was premiered by Robert Black.

• Palmer: A Bridge of Ice; computer set 

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• Juliet Kiri Palmer: Tufa and A Bridge of Ice 

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• Crehan: Aftermath; computer-set 

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• Crehan: Aftermath; computer-set 

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• Cresswell: Atta; computer-set 

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• Cresswell: Atta; computer-set 

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• Cresswell: Atta; facsimile 

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• Under the Southern Cross: works for cello 

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• Lyell Cresswell: Anake and other works  Year: 2000 

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The aim of these duets is to introduce young violinists at a tertiary level to aspects of contemporary composition which they may not have encountered in more conventional repertoire. They were written by Tabea Squire following her research on the subject of ‘difficulties faced by young violinists in learning contemporary music’, as part of her independent study at the NZSM in 2010.

• Tabea Squire: Contemporary Duets - hardcopy score 

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• Tabea Squire: Contemporary Duets - downloadable PDF 

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The human brain is capable of remarkable feats of understanding and analysis, yet has trouble simply imagining its own death. Death is our blind spot — we cannot conceive of an end to our perceptions and experiences, so we are forced to invent stories about what we will experience after we die.

As a result, human culture overflows with afterworld narratives, and in some cases these have become rich in specific details, textures and landscapes: afterworlds may be light, dark, watery, icy, misty, subterranean, found in the clouds, in the earth, in the sun, in the moon; they may be places of peace and redemption, or places of violence and damnation.

Michael Norris

• Norris: Exitus; computer-set 

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• Norris: Exitus; computer-set 

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• Michael Norris: Three works by Michael Norris 

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• NZ Premieres July 2008 to June 2009 

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• notes from a journey  Year: 2010 

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These studies take the form of variations on a chromatic series, ending with an extended passacaglia.

• Tremain: Nine Studies; facsimile 

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• Tremain: Nine Studies for violin and viola; facsimile 

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QUARTETTO DELL’ARTE is a five movement polytonal string quartet with an existential secret programme. In addition, it uses direct transcriptions of melodies from the following recordings:
1. Movement One: Musique et Musiciens du Monde – Biélorussie (UNESCO);
Kazakh Music Today (Topic Records Inc.)
2. Movement Three: Belgique Ballades, etc. (OCORA-Radio France);
Lituanie – Le pays des chansons (OCORA-Radio France)
The second movement is a pointillistic double retrograde fugue using melodies by Verdi and Puccini, and the fourth movement juxtaposes melodies by Guillaume de Machault and Stephen Foster.

• Davidson: QUARTETTO DELL'ARTE; computer set 

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• Davidson: QUARTETTO DELL'ARTE; computer set 

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Curnow requested this work from Lilburn in 1952 for a poetry reading at Auckland University College. The event took place on the evening of 9 August that year, and involved a substantial amount of poetry (twenty-two poems in total) read by the poets involved. (Actually the works of eight poets were represented: Baxter read “Canto at Twenty-seven” by Louis Johnson).

Lilburn’s music was premiered by Antonia Braidwood (violin) and Donald Bowick (piano). One movement was supposed to precede each reading, providing the audience with the composer’s musical impressions of the work and personality of each poet. In the event, however, the order was reversed, which led to some confusion for the audience and some displeasure for the composer. Typical of New Zealand composition of the time, there was no fee to be had for the work. Lilburn even had to pay his way to Auckland for the rehearsals. On his return to Wellington, Lilburn shelved and forgot about the work. It was not until a chance meeting at his doctor’s surgery in 1988/89 that he was reminded of its existence by Lady Dorothea Turner, who had reviewed the first performance. At that point Lilburn contacted the violinist Dean Major to ask if he would be interested in performing it. After some negotiation the composer also determined that he would write a narration to go along with the music in lieu of the twenty-two poems, and (most surprisingly) volunteered to read this himself.

Salutes to Seven Poets was recorded by Concert FM on 5 September 1989, by Major (violin), with Rae de Lisle (piano). As if to make up for thirty-eight years of neglect of the work, this recording received a Mobil Award in 1990.

(Note by Nancy November).

• Lilburn: Salutes to Seven Poets; computer-set 

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• Waiteata Collection of New Zealand Music Vol. 9 - Douglas Lilburn: Salutes to Poets  Year: 2006 

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• Douglas Lilburn: Violin and Piano Works  Year: 2011 

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• Freed: String Quartet No. 2; facsimile 

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• Freed: String Quartet No. 2; computer-set 

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• Freed: String Quartet No. 2; facsimile 

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• Freed: String Quartet No. 2; computer-set 

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• Freed: String Quartet No. 2; computer-set 

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Melodic ideas and motifs are derived from a magic square by Renaissance artists Albrecht Durer, which appears on the woodcut called ‘Melancholia’. The first movement is energetic in character, while the second is sad and melancholic, with a slowly rocking idea being suggestive of a lullaby. The third movement is obsessive in rhythm, with a gentler contrasting middle section. After a reflective opening, the finale bursts into a rustic, dance-like mood. Towards the end, various motifs from earlier movements are integrated into the texture and the work ends with a flourish. This is a substantial, yet approachable work for professional musicians.

• Ritchie A.: String Quartet No. 2; computer-set 

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• Premieres 2004, Volume 3 

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• Anthony Ritchie: Octopus  Year: 2011 

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