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As I listened to media reports on the ownership of Young Nick’s Head, I began to wonder about the life of the real ‘Young Nick’, who first sighted this land from the deck of the ship Endeavour. What was life like on board the ship for the young boy, and how did it feel to sight the land? Various images came to mind, including a silhouette of land in the early morning light, or a murky shape barely visible through grey storm spray, or a dark smudge on a bright blue horizon. This piece was written with these images in mind.

For Young Nick was premiered by Wellington Youth Orchestra in 2003.

• Holmes: For Young Nick (hire set); computer set 

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• Holmes: For Young Nick; computer set 

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• Holmes: For Young Nick; computer set 

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• Leonie Holmes: For Young Nick; audio 

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Alberton is a historic, romantic 18-room timber mansion in Auckland. In the late 19th and early 20th century it was famous for its hunts, garden parties, dances, music and friendly welcomes, which is still evident today. The atmosphere of the Victorian period, with the ballroom and spacious grounds, is captured in this music. The powerful brass chords show the strong character of Allan Kerr Taylor, owner and builder of this stately home. The spirits of the three unmarried daughters, the last family residents, are solo woodwind features. The shimmering tremolo string passages and harp arpeggios depict the ‘ghostly’ games played by Aunt Muriel on the children.

• Daverne: Ghosts of Alberton; computer-set 

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• Daverne: Ghosts of Alberton; computer-set 

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• Gary Daverne: Gallipoli 

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• Buchanan: More Witchy-Poo Songs; computer set 

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• Buchanan: More Witchy-poo Songs; facsimile 

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This work is an exploration of the possibilities of the string orchestra as a body of sound, the orchestra at times acting like one giant super-instrument composed of intricately superimposed layers. Old textures are continually swallowed up, recycled and transformed, playing out a finely balanced tension between static and active, supple and brittle, strong and fragile. From a fluid, tangled haze, individual voices periodically emerge to assert some kind of nostalgic lyricism, but each time they are ultimately subsumed, swallowed up in an eerie, ambivalent mass of sound. Stylistically the music is varied and eclectic, weaving together the intricate, spidery lines of Ligeti, the delicate chordal sonorities of Messiaen, the caustic anger of Shostakovich and even the brooding menace of Anthony Watson.

• Taylor: silk / gravel; computer-set 

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• Taylor: silk / gravel; computer-set 

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• Taylor: silk / gravel; computer-set 

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• Alex Taylor: silk / gravel; audio 

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A setting of words from Galileo’s solioquy at the end of the opera Galileo by John Rimmer and Witi Ihimaera.

• Rimmer: The Divine Secret; computer-set 

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• Rimmer: The Divine Secret; computer-set 

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• Rimmer: The Divine Secret; computer-set 

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• Rimmer: The Divine Secret; computer-set 

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This work for baritone and string quartet to a poem by Hone Tuwhare – Time – seeks to explore the sonorities of the stringed instruments and the voice. The soloist alternates between being an old man and a young child. The idea of changing the role of the vocalist was taken from the poem Time and the Child by Hone Tuwhare. The words conjure up powerful images which lend themselves to this very simple musical setting. This is one of Hulford’s most effective and accessible works.

• Hulford: Time; facsimile 

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• Hulford: Time; facsimile 

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• Hulford: Time; facsimile 

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