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When Virgil penned his great story of national mythology for the Roman state and empire, he called it The Aeneid, since the poem recounts the travels and adventures of Aeneas, a latter day Ulysses. As Aeneas and his fleet are sailing from Carthage toward Italy they encounter a violent storm and seek shelter in the protected harbour of a small island off the coast of North Africa. Here rocky outcrips provide a haven. Aequora tuta silent Virgil writes – the water is calm and silent.
Friendly sounds echo back and forth across the water between the cliffs.

Notes taken from Toru, Atoll CD (ACD 143)

• Toru - Chamber Music by Martin Lodge  Year: 2011 

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‘blessed unrest’, was one of six short pieces commissioned by the New Zealand Trio as “attention-grabbing”, programme opening pieces. They wanted something that would start a concert “with all guns blazing”; a piece that ought to be “high-impact, dynamic and edgy”. It took a long time until I found something that I thought satisfied this demand, as I didn’t want to write an obviously motoric pulse-based piece. I wanted to create a sense of pent-up energy and its release in bursts. Many approaches were tried and rejected and while this was going on I came across the quote that gave the piece its title. I don’t think my dissatisfaction with earlier versions of the piece was either ‘queer’ or ‘divine’ and I dislike the lofty tone, but parts of Martha Graham’s statement nevertheless resonated with me: “There is vitality, a life force, a quickening that is translated through you into action, and because there is only one of you in all time, this expression is unique. If you block it, it will never exist through any other medium and be lost. The world will not have it. It is not yours to determine how good it is; nor how it compares with other expressions. It is your business to keep the channel open. You do not even have to believe in yourself or your work. You have to keep open and aware directly to the urges that motivate you. Keep the channel open. No artist is ever pleased. There is no satisfaction whatever at any time. There is only a queer divine dissatisfaction; a blessed unrest that keeps us marching and makes us more alive than the others.”

• Gardner: blessed unrest; computer-set 

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• Gardner: blessed unrest; 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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• Rimmer: Burning the Calories; computer set 

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• John Rimmer: Burning the Calories; audio 

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• Body: Fire in the Belly; computer-set 

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• Body: Fire in the Belly; computer-set 

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• Psathas: Helix; computer-set 

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• John Psathas: Helix  Year: 2011 

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‘Intaglio’ is a printmaking technique in which an image is etched or engraved on the surface of a plate. Ink would then be applied to the plate and removed from the surface, leaving ink only in the incisions. The title refers less to the work itself than to the process of composing it, a small insight into my ideas about how material manifests in musical shape. This piece is written in three uninterrupted movements.

• Gendall: Intaglio; computer set 

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• New Zealand Premieres Volume 2 

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• Two Works by Chris Gendall 

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The graphic notation Picnic is of the nature of thought experiments. The viewer is invited to hear the music they portray, with or without the mediation of actual musical instruments. If the score is to be performed live, the musicians may find the accompanying written notes useful guides for improvisation.

I wrote the poem Thank You John Cage on first encountering his work in 1980. He taught me the importance of space and silence as active components in both poetry and music.

• Sauer, Theresa (ed.): Notations 21  Year: 2009 

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Puhake ki te rangi, which translates as spouting to the skies is a celebration of whales, and was written late in 2006 for the New Zealand String Quartet and Richard Nunns as a project undertaken while I was the CNZ/NZSM composer-in-residence, living in the Lilburn House in Wellington.


Although one section is based on a transcription of whale song, there is no programme to the piece – no confrontation with humanity, for instance. The guiding principles were the extreme range of whale song, the changing patterns of their song, and the image, given to me by the late Tungia Baker, of a whale in Campbell Island waters allowing seal pups at play to slide down her flanks over and over again until, tiring of the game, she flipped them gently away.


The taonga puoro (Maori instruments) used in this piece are all made from whale bone or the bone from the albatross, the whale’s avian counterpart. In the order they are played, the taonga are, the percussive tumutumu, made from the jaw of a pilot whale washed up on Farewell Spit, a karanga manu (bird caller) made from an orca tooth, two nguru (flutes) made from the teeth of sperm whales that stranded one in Tory channel and one at Paekakariki, two putorino koiwi toroa (instruments made here from albatross bones, which have two different voices, being played as flute or trumpet), made here from the wingbones of a wandering albatross from the sub-Antarctic islands and a young royal albatross from the Chatham Islands, a nguru made from the cochlea of a hump-backed whale and finally a putorino koiwi toroa, especially made for this piece from the rib of a right whale that beached at Cable Bay. Members of the Quartet play percussive instruments – whalebone tumutumu and tokere (castanets). All these instruments were made by Brian Flintoff.


In the score, the taonga puoro sections are improvised; mostly the quartet parts are notated, but sometimes the players are required to improvise.

• Whitehead: Puhake ki te rangi; computer-set 

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• Whitehead: Puhake ki te rangi; computer set 

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• Gillian Whitehead: Puhake ki te rangi  Year: 2007 

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To celebrate the 100th anniversary of one of the greatest Russian composers, Dmitri Shostakovich, I contributed by writing this piece for piano trio. Attempts were made to capture the sarcastic, ironic and satirical nature of his music. However, I did not merely want to imitate his style, but rather to pay homage to what I think are some of the most powerful fundamental elements in his music.

There are often moments that are unmistakeably Shostakovich-esque, such as bars 41 to 73. Other times rapid time changes emphasizes the strong rhythmic pulse of this piece. The “coda” incorporates a Russian dance, which is even briefly interrupted by the man himself, with a stern expression on his face as if saying “What’s this nonsense?!”.

Scherzo for D.S was given its first performance at the CANZ Composers’ Workshop in Nelson in June 2007, followed by two more performances that year by the Bouterey-Ishido brothers, Jun and Yuuki, and myself in Christchurch.

• Lin, T.: Scherzo for D.S; computer-set 

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• Lin, T.: Scherzo for D.S; computer-set 

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• Tony Lin: Scherzo for D.S 

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Taegum; Piri/Se-piri with Tibetan prayer chimes; clarinet in B flat; percussion 1: Changgo, suspended cymbal, Tibetan prayer chimes, two Thai gongs, suspended string; percussion 2: crotales, vibraphone, marimba, bass drum; twelve string gayageum in F; guitar with Tibetan prayer chimes; shaenghwang; cello

• Lardelli: Sent into Silence; computer-set 

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• Dylan Lardelli: Sent into Silence; audio 

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• Aurora Australis  Year: 2010 

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