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• McCallum: Aspiration's Meaning; computer set 

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• McCallum: Aspiration's Meaning  Year: 2004 

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• Selection 05  Year: 2005 

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• Samuel Holloway: Austerity Measures - hardcopy score 

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Like many whakataukī, or traditional sayings, he rimu pae noa conveys a rich range of meanings. Literally, it describes seaweed set in motion by the tide. Metaphorically, it also refers the restlessness of a traveller, and the movement of a whole bed of seaweed in the same current alludes to a group of people working in harmony. This in particular has a strong resonance with the collaborative process from which the piece arose. The instrumental ensemble provides a framework, and a backdrop, for the improvisation of the taonga pūoro. At the same time it attempts to maintain its own identity, in conversation with the solo lines. Precisely specified gestural events are distributed in a flexible rhythmic framework,
which aims at a balance between control and spontaneity. I am deeply grateful to Horomona Horo, for a richly rewarding collaboration, and to Richard Nunns, whose work over many years is a deep source of inspiration.

Philip Brownlee

• Brownlee: He rimu pae noa; computer-set 

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• Brownlee: He rimu pae noa; computer-set 

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• Philip Brownlee: He rimu pae noa; video 

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• Philip Brownlee: He rimu pae noa 

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• Two pieces by Philip Brownlee 

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• Dylan Lardelli: Hiki-Iro - hardcopy score 

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  $19.00
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• Dylan Lardelli: Hiki-Iro - downloadable PDF 

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  $16.00
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• Dylan Lardelli: Hiki-Iro; audio 

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Jangeran seeks to bridge the musical gap between East and West: a Balinese melody is appropriated by the Western orchestra and is recast in a range of Western contexts. At various points a gamelan ensemble, embedded in the Western orchestra, emerges and reasserts ownership of the musical source materials while at other times the two bodies combine to explore new and strange syntheses of culture, movement and soundworlds.

Jangeran was commissioned and premiered by the Nusantara Symphony Orchestra in Jakarta in May 2005, conductor Edward Van Ness, with further performances in Osaka and Tokyo, Yogyakarta and Jakarta.

• Watson: Jangeran; computer-set 

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• Watson, C.: Jangeran; computer set 

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• McKenzie: Observation; computer-set 

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• McKenzie: Observation; computer-set 

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• Music by Lachlan McKenzie 

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Wan ge (Elegy) uses a poem by Tao Qian (Tao Yuanming) (365-427), who is one of the greatest poets in the Weijing period. The poem embodies the poet’s concepts about life and death. I am very fond of Tao Qian’s poem and I appreciate the imagery in his works relating life to death, honour to disgrace, wine and life and so on. I also love the sounds of Chinese guzheng zither and the Indonesian gender metalophone with their soft, subtle, and deliciously mysterious sounds. I composed music that marries the poem and the music with both English and Chinese.


Wan ge (Elegy) was dedicated to Jack Body, and was included in the Vita Brevis concert – the Inter-Cultural Meditation on Life’s Brevity combined Indonesian gamelan, various vocal styles, spoken word, electronic sound, traditional dance, and a choir specialising in Gregorian chant, and included music by composers Gareth Farr, Jack Body, Chinese composer Shen Nalin, and Indonesian composers Wayan Yudane and Budi Putra. This concert which took place in mid-November 2005. This event paid tribute to those who died before their time, particularly the 130,000 victims who died in North Sumatra, Indonesia, during the 2004 Boxing Day tsunami.


Shen Nalin

• Shen: Wan Ge (the Elegy); computer-set 

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• Shen: Wan Ge (the Elegy); computer-set 

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• Killin: Wigena; computer set 

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• Killin: Wigena; computer set 

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• Anton Killin: Wigena 

  Digital sound file - MP3