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• de Castro-Robinson: A Mob of Solid Bliss; facsimile 

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• Hextall: Beating Cry; computer-set 

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• Hextall: Beating Cry; computer-set 

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• Shepherd: Fantasia; facsimile 

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Klezmer Jewish music absorbs many musical influences from Germany through to Greece and the Middle East. Once the Klezmer arrived in New York the music incorporated jazz. Jonathan arrived in New Zealand in 1974 from New York and composed Klez in 1984 for a jam session with two violinist friends.

• New Zealand Music for Creative Dance 

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• Jonathan Besser: Ensembled  Year: 1999 

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• Jupiter Rain - the New Romantics live in Kerikeri  Year: 1999 

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• Norris: Momenta; computer-set 

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• Norris: Momenta; computer set 

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Most of the time, More than one attempt comprises three musical layers: (i) a pair of ‘drones’, audible only now and then, playing continuously in the background as a sort of ‘coloured silence’; (ii) a punctuating or supporting layer usually consisting of percussion, bass trombone and bass clarinet; and (iii) a soloist—the piano in the first movement, and the horn in the second.

The title of the first movement is the first and last line of the late Allen Curnow’s poem For Peter Porter at Seventy which I discovered after having started to sketch the work. It seemed appropriate for music which consists largely of regular pulses in the ensemble while the piano spends much of the movement in its own freewheeling, flexible time zone. The intricate pantoum structure of Curnow’s poem is not, however, emulated musically. In contrast to the fixed, equal tempered pitch world of the piano in the first movement, the horn soloist in the second is called upon to make extensive use of the 7th, 11th and 13th harmonics of the instrument—so called ‘out of tune’ harmonics—which set it apart from the rest of the ensemble.

More than one attempt was written for, and is dedicated to, the soloists in the first three performances; the pianist Lynda Cochrane and the horn player Helen Burr

• Gardner: More than one attempt; computer set 

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• Gardner: More than one attempt; computer set 

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• James Gardner: More than one attempt; audio 

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• James Gardner: Selected Works 

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Piece No.4 uses a variety of techniques from Jazz and Classical music.


Firstly, it is a concerto for our bassist Mike Kime who improvises his solo throughout the work. Secondly, the piece has a mosaic structure. The sections in the piece can be played in any order which is decided upon by the conductor as the piece progresses. This lends a dynamic and exciting atmosphere from which the textures and solo in the piece develop.

• van den Broek: Piece No. 4; computer-set 

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• van den Broek: Piece No. 4; computer-set 

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Originally written for strings only, and premiered by the Marama Chamber Orchestra (Dunedin) in 2005.

In 2009 I revised instrumentation, tidied score and tidied some music passages.

Reclusion is a slow, powerful piece of music.

Ryan Youens

• Youens: Reclusion; computer-set 

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• Youens: Reclusion; computer-set 

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• Psathas: Terra; computer-set 

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• John Psathas: works 

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• 175 East vol. 3 

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• Cresswell and Psathas: works  Year: 1999 

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The first stirrings of this piece coincided with the birth of my second child. So it may be heard as a small gesture of welcome. However, as often happens, musical development overtook any outward metaphorical expression, and I find myself scrabbling around afterwards to link the music to something beyond itself. The title is a phrase from Bill Manhire’s poem, ‘What to Call Your Child’, chosen for its intrinsic resonance, rather than any link to its original context. The child’s name is encoded in the music, not so much for its meaning, but for the tension generated when spontaneous composition is disrupted by the intrusion of arbitrary elements. Connections between the musical materials and images of growth, development, and disruption, and the natural environment mentioned in the title, can no doubt be found, but don’t take my word for it. Or, as Samuel Beckett put it, ‘What a rest to speak of bicycles and horns.’

• Brownlee: The quietest name of the wind; computer set 

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• Brownlee: The quietest name of the wind; computer set 

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• Brownlee: The quietest name of the wind 

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