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• Rimmer: Burning the Calories; computer-set 

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• Rimmer: Burning the Calories; computer-set 

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• Rimmer: Burning the Calories; computer set 

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• Rimmer: Burning the Calories; computer set 

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• John Rimmer: Burning the Calories; audio 

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In many ways this is a companion piece to an earlier work, Vivid for solo trumpet, which also sets a powerful, sexually charged poem by Will Christie. But where Vivid is very often overtly violent and forceful in its gestures, deepwalker is mostly much subtler, almost passive-aggressive in outlook. The opening lines of the poem – “the day is a drum that connects these vocal loops with grey traffic circles bridge after bridge” – are mirrored in the cyclical, sometimes elliptical form of the work, loops and circles that play between registers of the clarinet. Sexual tension and aggression bubble away in the background, periodically rupturing the musical surface with piercing, angular outbursts, sometimes in parallel with the rather tender, fluid lines of the low register, and with the spoken text itself. This violent interplay creates a kind of disordered internal conversation, a bizarre hermetic character opening and shutting her windows; a clarinet of many voices.

Warning: contains coarse language

• Taylor: deepwalker; computer set 

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• Taylor: deepwalker; computer set 

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• Alex Taylor: deepwalker; audio 

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• Alex Taylor: deepwalker 

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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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• Dylan Lardelli: Hiki-Iro - downloadable PDF 

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• Dylan Lardelli: Hiki-Iro; audio 

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Written for the composition tutor at the 1985 Cambridge Music School, John Elmsly, Slides 5 received its first performance in 1987 at a University of Auckland concert. The combination here is of baroque flute with crotales (tuned antique cymbals). The pitch range here is much narrower than with a conventional flute. One particular feature of the music is a fingered tremolo while a single pitch is held, thereby causing microtonal fluctuations in the pitch of that note.

• Hamilton: Slides 3, 5, 6 and 8; facsimile 

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• David Hamilton: Slides 5; audio 

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• Griffiths, D.: Sonata in C; facsimile 

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• David Griffiths: Sonata in C; audio 

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Stapes is the first piece in a series of three trios collectively entitled Middle Ear. The stapes (or stirrup) is the smallest in the chain of three bones that transmit vibrations from the eardrum to the internal ear in the process of transformation of external soundwaves to an emotional or cognitive response within the listener. The composition of Stapes was largely dictated by the idiosyncrasies of the ensemble: the piano, suffering under equal temperament and timbral limitation, and the strings, free in pitch and hosting a wide timbral palette. The juxtaposition of these disparate musical entities, with the instruments working together and against each other, forms the basis of this work. The piece is physically and mentally demanding, pushing the players in individual and collective struggles for articulacy.

• Samuel Holloway: Stapes - downloadable PDF 

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• Holloway: Stapes - hardcopy score & parts 

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• Samuel Holloway: Stapes; audio 

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Two Soviet Love Songs for Vocalizing Pianist were composed in December 2003. The idiosyncratic mannerisms of performers have long fascinated me. Often I find myself guilty of habits potentially disturbing a performance. The unconscious movements or noises one makes while performing, however, are inevitable and, perhaps, better not to be avoided. They are there for a good reason. It would be unthinkable if Glenn Gould were asked to play without humming of gesticulating. In fact these two pieces were inspired to some extent by watching a video tape of Gould’s performance, as well as hearing the composer-pianist Frederic Rzewski performing his The Road. The pieces were originally meant for the private entertainment of accomplished pianists who also like to sing, but, as I played them after their completion, I felt that their theatricality seems to demand an audience.

The two Soviet tunes are something I grew up with. They are still extremely popular in China and often heard in karaoke houses. In Katyusha, besides the tune itself, I also quote Shostakovich’s Tenth Symphony (the Scherzo movement) as well as a familiar American show-tune which Shostakovich himself once arranged for orchestra.

Gao Ping, Gao Ping – Chamber Music, NAXOS

• Gao: Two Soviet Love Songs for Vocalizing Pianist; facsimile 

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• Gao Ping: Two Soviet Love Songs for Vocalizing Pianist; video 

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• Gao Ping: Chamber Music  Year: 2006 

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‘Voices of Tane’ (1976) was the first piece I wrote on my first return to New Zealand after nine years away. It was written for my sister, Joyce Whitehead, to play at the Registered Music Teachers’ Conference in Auckland that year. A series of seven short piano pieces, written with children in mind (although some of them are difficult for children to play), was written for my godson, Kit Boyes. There is little to say about the pieces themselves except that the last repeats the first, the third has to do with birdsong, the fifth with the wind, and the sixth consists of nine ideas that the pianist plays in whatever sequence she or he wishes.

• Whitehead: Voices of Tane; computer-set 

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• Gillian Whitehead: Voices of Tane; audio 

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