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Percussion: 4 tomtoms, small bass drum, Chinese opera gong, marimba and suspended cymbal

’Ceol na Fidhle (pronounced ‘kee-OL na fiddle’), for violin and percussion, is based on Celtic bagpipe and fiddle tunes. The Gaelic title means ‘tunes for highland fiddle.’ Some of the tunes are obvious while others are almost hidden.

Prologue starts with a bang, and is followed by Hornpipe where a familiar tune dances and then scurries away beneath a disguise of accompanying notes and rhythmic displacement. The Boatman slows the pace and melodic decoration suggests the sound of bagpipes playing this rather wistful song. Finally, Reel returns to the highly-charged drive of the Prologue with a frantic and virtuosic ending.

Ceol na Fidhle was written in 1999 for Tasmanian musicians Rachel Bremner and Tom O’Kelly.

• Grenfell: Ceol na Fidhle; computer set 

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• Maria Grenfell: Selected Works 

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• Maria Grenfell: Ceol na Fidhle and Stealing Tutunui 

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• Music by Maria Grenfell 

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“Have you ever lost your mouth or anything in that small area… your lips, your teeth, your tongue, your tonsils? The throat – everything around there. You’d be in deep stew, yes.” Patti Labelle, Moon Shadow

Listening to the Hammond-centred sound of the Peddlers in my parents’ car in 1974, I’d feel positively queasy. Ransacking my Dad’s cassette collection a few years, I stumbled across some of this old ‘driving music’. Somehow I no longer felt nauseous when I listened to it. Around the same time I bought my brother a collection of Rare Groove for his 30th birthday. One of the stand-out tracks is of Patti Labelle singing her version of Cat Stevens’ Moonshadow. The central section is an insanely long rant by Labelle in which each of the musicians solo (including a fabulous Hammond improv). Deep Stew takes it title and its spirit from this crazy sequence of ‘what if’s.

Commissioned by the Composers’ Association of New Zealand with funds from the QEII Arts Council, Deep Stew was premiered in 1994 at Wellington Town Hall, New Zealand. The Bang on a Can All-Stars gave the work its American premiere in 1995 at New York’s Lincoln Center.

• Palmer: Deep Stew; computer-set 

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• Palmer: Deep Stew; (BOAC) computer-set 

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• Palmer: Deep Stew (1994); computer set 

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• Palmer: Deep Stew (1994); computer set 

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• Palmer: Deep Stew (1994); computer set 

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• Juliet Palmer: Deep Stew; audio 

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20 players: 3 tpts. C, 3 tpts. B flt, 4 hn F, 3 trmb., 2 euph., 2 tubas; perc. 1: timp., large and small sus. cymbals, bass drum; perc 2: bass drum, vib., snare, 2 bongos, 3 toms; perc. 3: large gong, large and small sus. cymbals, 2 bongos, 3 toms, snare, bass drum

• Rimmer: Millennia; computer-set 

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• Rimmer: Murmures; computer set 

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• Rimmer: Murmures; computer set 

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2 violins, viola, cello, piano

Piano Quintet was premiered by Stroma (Felix the Quartet with Emma Sayers) in Wellington in 2001.

• Watson, C.: Piano quintet; computer-set 

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• Dixon: Raga Rewa; computer set 

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Written while I was studying in Osaka on a Japanese Government scholarship before undertaking my main period of study in Hiroshima; an ode to the sakura (cherry-blossom) so beloved by the people of Japan. The triadic harmonies played by the three violas are interspersed with solo passages on alto flute; their forces later unite in a chorale (choreographed by a Noh dancer?) before a brief coda closes the work.

First performed at Victoria University of Wellington and again in the Auckland Philharmonia Ensemble Philharmonia concerts in June and July 1994.

• Carey: Sakura; facsimile 

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• Carey: Sakura; facsimile 

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• Ross Carey: Sakura; audio 

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trumpet (4), horn (2), tuba (1),trombone (3), bass trombone (1), percussion: drum set (snare drum, bass drum, 2 cymbals, 4 tomtoms, 2 cow bells, 5 temple blocks, gong, crotales 2 pairs of bongos)

• Powell: Salmagundi; computer-set 

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• Powell: Salmagundi; computer-set 

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The title Te Whanganui-a-Tara or ‘The Great Harbour of Tara’ is the original Maori name for Port Nicholson, commonly know as Wellington Harbour. I conceived the piece while living in the hillside suburb of Roseneath, where from certain vantage points the harbour lies enticingly at one’s feet in several directions. The piece is in three movements.

I. Entwining melodic figures on alto flute, joined by guitar and cello relate a time before any human presence around this body of water; the hills and valley are alive with the sounds of birds and insects.

II. Energetic motions convey the great Earthquake of the 1400s, which raised the land where Wellington airport now stands; the ensuing calm of the changed landscape is indicated by an ascending motif over an open fifth.

III. A contemporary portrait; the busy lives of the inhabitants scattered all around the quiet presence of the great harbour of Tara.

Written for guitarist Kazuhito Yamashita, the work received its premiere in ‘Green Concerts Volume Two’ held at ALTI Hall, Kyoto, in April 1995.

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violin, viola, cello, bass, bass clarinet, harp, percussion

that moment before you understand from silence stillness
fractured by activity no words memories accumulate
from growth comes from lumps of time mounds of
moments stillness interrupted by activity signifying?
remembering before understanding time accumulates

• Hall: The Way Time Accumulates; facsimile 

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• the way time accumulates 

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