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Dream Bird was written in 2009 for harpist Ingrid Bauer. The title is a reference to a painting by the composer’s mother, Katrin, of a bird she had seen in a dream. The piece is dedicated to Katrin.

• Tabea Squire: Dream Bird - downloadable PDF 

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• Ingrid Bauer: Dreambird  Year: 2011 

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The catalyst for this composition was a visit by Bruce Paine to Finchdean, on the Hampshire/Sussex border in the South of England in the summer of 2005. A walk through nearby fields led to the 14th century chapel at Idsworth, and this composition captures that day.

Isolated and settled serenely amid the cornfields “The Little Church in the Field” St Huberts Chapel built in 1053 by Earl Godwin of Wessex is a fascinating focal point for walkers visiting the area.

Tremolo effects in the opening and closing sections of Finchdean represent the swirling and waving textures of the wheat fields. Halfway into the piece the mood changes with figures that imitate the sound of a bell ringing in the distance, as if summoning the visitor to enter the church.

The lute-like central section represents the church itself, in particular the tranquil interior and wealth of decoration within. The early 14th century murals take you back in time to the days of old England and King Edward the Confessor.

• Paine: Finchdean; computer-set 

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• Paine: Finchdean; computer-set 

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• Bruce Paine - Lateral Lines 

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The name hihi (“stitchbird”) has an onomatopoeiac quality which suggests the insistent call of this bird which is urgent, penetrating and strong. Hearing the striking call of the “hihi” on Tiritiri Matangi in the Hauraki Gulf inspired this piece.

• Bowater: Hihi; computer set 

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• Bowater: Hihi; computer set 

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• NZ Premieres 2008 Vol. 1 

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• Love's Nature  Year: 2011 

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The gamelan is a percussion orchestra from Indonesia, made up of gongs, drums, metallophones, wooden xylophones, strings (bowed and plucked), bamboo flute, and voice. No two gamelan-makers tune their instruments alike, thus the differences in tuning between ensembles has become an important part of the aesthetics of gamelan music. This piece for guitar, kenong and saron exposes the discrepancies in tunings between the two traditional scales of Javanese gamelan, and also the Western tuning we are familiar with. Written for composer and guitarist Dylan Lardelli, who premiered the work with me at In Brevity, a Caprice Arts Trust concert in Wellington on October 10, 2008.

• Killin: ...tor / tue; computer-set 

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• Killin: ...tor / tue; computer-set 

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• Anton Killin: ...tor / tue 

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• NZ Premieres July 2008 to June 2009 

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• Anton Killin: ...tor / tue 

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This work was formulated around the poem ‘Milonga de dos hermanos’ by Argentinan poet Jorge Luis Borges. The poem is a modern revisitation of the Cain and Abel story, wherein the Iberra brothers in the Costa Brava, a pair of prize knife-fighters (cuchilleros) finish in a murderous spat of fratricide. The opening line: Traiga cuentos la guitarra translates as, The guitar tells us tales; in this is a clear moment of truth about music and its storytelling function.

All music has something to tell us, if we want to listen to it.

• Norris: Traiga Cuentos la Guitarra; computer-set 

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• Norris: Traiga Cuentos la Guitarra; computer-set 

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