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• Hall: and the sound went up like smoke; computer set 

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An exciting, positive work for marimba.

This work won first prize in the ‘Tonal 21st Century’ category of the 2009 Classical Marimba League Composition Competition.

• Crehan: Bold Spark; computer-set 

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An energetic theatrical work for comic relief and rhythmical play.

• Cowan: Bus Stop; computer set 

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• Cowan: Bus Stop; computer set 

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• Claire Cowan's 'Bus Stop' - on the street 

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Dialogue was commissioned by Jeremy Fitzsimons in 2004 with funding from Chamber Music New Zealand and is Gareth’s first work for two mallet percussion instruments. The piece explores the ability of the two instruments to blend into one as well as highlighting the contracts in tone between the two.
The first movement is a development of a chord progression played by the marimba at the beginning; Balinese interlocking techniques (kotekan) are used in the second movement; and the third movement is a moto perpetuo (constant motion) with the two instruments dashing forwards in parallel, in counterpoint, and in canon.

• Farr: Dialogue; computer-set 

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• Farr: Dialogue; computer-set 

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• Gareth Farr: Dialogue; video 

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• Gareth Farr - Tangaroa  Year: 2008 

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• Gendall: dita; computer set 

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• Waiteata Collection of New Zealand Music Vol. 7 - Emerging Composers  Year: 2003 

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Double Resonances explores the idea of the resonances of two cultures (East and West) as a resource for establishing a personal sound resonant of my Pacific locale. Out of stillness half resonances from prepared and altered piano techniques merge with Korean temple gong and Samul Nori metal resonances. Bass sounds in shifting, Filipino-inspired ostinato rhythms propel the piece forward against sudden jazzy intrusions based on dissonant interval-colours. A Filipino scale borrowed from the percussive gone-chime beauty of a particular kulintang – that of world musician, Michael Atherton – underpins the percussion pitches in this stormy first section and later, during recurring still centres, it merges with the gentle sounds of the Chinese Shang-tiao mode as moments of sparky tranquility. They jazz-inspired intrusions and developed repeated note drivers return to form a massive sonic climax which includes moments of controlled improvisation for the players; the climax subsides, ebbing back to the half echoes of prepared piano and transcendence of a temple gong sound.


Double Resonances was written for the Music of the Spirit concert at the Aurora Festival in 2008.


Bruce Crossman

• Crossman: Double Resonances; computer-set  Year: 2008 

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• Bruce Crossman; Double Resonances; video 

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• Double Resonances - Bruce Crossman  Year: 2008 

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Echoes was written for the Puspawarna Gamelan Group at the University of Otago. I have long enjoyed the sounds of the gamelan, and welcomed the invitation by Dr Shelley Brunt to compose something for Puspawarna. Although I knew some rudimentary things about the instruments, composing this piece gave me the opportunity to learn a great deal more. Being able to play a little in the ensemble was invaluable, as was advice provided by leader Joko Susilo, Shelley, Chris Watson (Mozart Fellow at Otago University) and one of my students, Ali Churcher, who coincidentally was writing a piece for gamelan at the same time.

Echoes is the first piece I have written without using a piano at all to compose. Having been to a gamelan rehearsal I found a tune popping into my head during a walk to the dairy. I developed this tune on the computer (using vibraphone sounds to represent the gamelan), layering it into a canon, or round. Two further tunes appear, based on different home notes, but all the tunes use the same pelog scale. They are decorated and varied, before the opening tune returns like an echo at the end. The idea of echoes is also evoked by the canons, and the ringing sounds of the gamelan itself. Echoes have a spiritual significance, I think; sound waves return to a listener in the same way memories flood the brain when triggered by something special happens. They induce a reflective state.

• Ritchie, A.: Echoes; computer-set 

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• Ritchie, A.: Echoes; computer-set 

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• Music by Anthony Ritchie 

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Written as an encore for concerto, View from Olympus

• Psathas: Fragment; computer-set  Year: 2003 

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• John Psathas: Fragment; video 

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• John Psathas: Fragment; video 

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• John Psathas: Fragments  Year: 2003 

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This short work is an adaptation of a piano duet originally composed in 2001 to commemorate the retirement occasion of the composer’s first piano teacher, Peter Williams. At the time of tis composition, Psathas was engaged in writing his double concerto for percussion, piano and orchestra, View from Olympus, and in mood and musical material, Fragment is related to the second movement of that work.

This version, for marimba and vibraphone, was arranged by percussionist Jeremy Fitzsimons. Fitzsimons first performed the work with Kristie Ibrahim, together as Double Lateral, in the Illot Theatre, Wellington Town Hall, Wellington, New Zealand on 2 October 2005.

Notes taken from Fragment, Promethean Editions

• Psathas: Fragment; computer-set  Year: 2009 

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• Psathas: Fragment; computer-set  Year: 2009 

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• Psathas: Fragment; computer-set  Year: 2009 

  Parts - written | Hardcopy - computer set
  

• Phil Dadson: Sound Tracks - solo improvisations  Year: 2004 

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