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Ronald Dellow  

Air

Duration: 03' 00" Year: 1990
for organ

Rachel Clement  

Ellipsis

Duration: 01' 00"
for any instrument in range

Patrick Shepherd  

Intrada

Duration: 02' 00" Year: 1994
for four trombones, timpani and recorded tape

Anton Killin  

Melody for Violin and Yangqin

Duration: 04' 00" Year: 2010
for violin and yangqin (dulcimer)

John Drummond  

Meteorological Fugue

Duration: 02' 00" Year: 1977
for SATB choir

David Farquhar  

Palindrome

Duration: 04' 00" Year: 1994
for flute and tape

Hirini Melbourne  

Putorino a Raukatauri (The case moth)

Duration: 01' 00"
For solo voice and putorino (or woodwind melody instrument)

Jeni Little  

Shanti

Duration: 04' 09" Year: 1999
for 4-part vocal group with digital soundscape

  • Programme Note

    Shanti is an electroacoustic work and an elegy. It is dedicated to four people – my close friend David who died from skin cancer in 1991; Georgia who died in 1997, a past student who was killed in a motorbike accident; my Nana who died in 1997; and Nusrat Fateh Ali Kahn who also died in 1997, the world’s finest Qawaali singer from Pakistan.


    All of these deaths had a strong impact on me and inspired the composition of this work. Each of the dedicatees has a section (or verse) which refers directly to them. The piece ends with a life-affirming coda – the simple act of having the sun on our back always makes us feel better. The backing track is a digital soundscape with manipulated vocals layered throughout.

    Jeni Little

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Dorothy Buchanan  

Song Without Words

Duration: 02' 00" Year: 1983
arranged for piano trio

Carol Shortis  

Thinking in the Moonlight

Duration: 02' 30" Year: 2010
for Chinese yangqin (hammered dulcimer) with a Chinese text to be recited by performer

  • Programme Note

    I composed this piece in March 2010 in response to the opportunity to write for the Chinese Yangqin (hammered dulcimer) played by visiting performer Wang Hui. Like the narrative of the poem, I wanted to work with an imagined journey, beginning in one place and returning there. However, the poem itself became the traveller in this case, written in China, brought to a foreign land where it is interpreted and transmuted into another form before being re-connected with its origin through the Chinese instrumentation and performer.

    Carol Shortis

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