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violin, viola, cello, piano

• Buchanan: An Ocean Between Us; computer set 

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• Buchanan: An Ocean Between Us; computer-set 

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• Buchanan: An Ocean Between Us; computer-set 

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Taonga puoro (improvised): poi awhioahio, hue puruhau, koauau ponga ihu, nguru, ororuarangi, ku, putatara, pu kaea, pumotomoto, pupu harakekek, tumutumu

Hineputehue translates literally as the woman of the sound of the gourd, and she is the Maori goddess of peace. The work was written in 2001, at the time of President Bush’s State of the Union address shortly before the invasion of Afghanistan, and suggests the fragility rather than the celebration of peace, particularly in a pre-European environment.

A number of instruments used in Hineputehue are made of gourds – the gourd, which carried food and water, is a symbol of peace. These include the poi awiowhio, a very quiet bird lure which is swung around the head, the tiny koauau ponga ihu or noseflute which ends the piece, the hue puru hau, a large gourd which is blown across its top opening and the gourd rattles played by the quartet. Two other wind instruments frequently made from gourds, the nguru and the ororuarangi, are also used. Other instruments are the putatara or conch shell trumpet, traditionally used for signalling, the pu kaea or war trumpet, a nguru niho paraoa or flute made from a whale’s tooth, the pumotomoto, associated with birth, and tumutumu (tapped percussion).

There is a similarity between the stringed instruments of the quartet and the gourds, in that they are made from plant material, with sound emitted through sound holes. Another link is the ku, the only stringed instrument known to Maori, which is a small musical bow played like a jaws harp (jews harp) using the mouth as a resonating chamber. The idea of ororuarangi, which can be translated as spirit voice (or double stopping in a different context) has had some influence on this piece as in the parallel movement of the strings.

• Whitehead: Hineputehue; computer-set 

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• Whitehead: Hineputehue; computer set 

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• Whitehead: Hineputehue; computer set 

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• NZIAF: Gillian Whitehead Portrait; part 2 

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• Whitehead: Bright Silence  Year: 2002 

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• Gillian Whitehead: Puhake ki te rangi  Year: 2007 

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clarinet in B flat/ bass clarinet

• de Castro-Robinson: Len Songs; facsimile 

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• de Castro-Robinson: Len Songs; facsimile 

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• Premieres 2004, Volume 4 

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• de Castro-Robinson: Len Songs  Year: 2004 

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Lyric Sketches had its genesis in a suggestion from the composer’s son, Michael, to arrange my Songs of Mystic Jade for his quartet, Locana.

This cycle of structurally-related songs with the inclusion of Anthem to the Dawn and The Babbling Brook became a suite of eight pieces. The suite begins with Anthem to the Dawn inspired by a poem the composer’s wife, Rae, wrote a number of years ago. The grandioso section of the final movement, Motion, posed a problem in orchestrating the rolling arpeggios with sustaining pedal of the original piano part. I acknowledge Michael’s suggested solution which helped to retain a similar effect within the limitation of the four instruments.

• Dixon: Lyric Sketches; computer-set 

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• Marshall: O Fragile Human; computer-set 

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• Marshall: O Fragile Human; computer-set 

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• Marshall: O Fragile Human 

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The word Requiem comes from the Latin “requies” [rest]. In choosing a text for my piece, I chose not to use the regular texts from the Roman Catholic Liturgy and decided to write my own. The piece is structured in a hybrid form combining both concerto elements with the multiple movement architecture and text setting of the Requiem.

The violinist is the protagonist whose melodies, rhythms and wide ranging emotions counterpoint the voices whose music is always lyrical and simple. At the time of writing this music I was not conscious of any particular emotion or statement, instead the music evolved and took it’s own path. A new section would begin with a simple idea or “cell” and then expand in all directions until complete.

There are eight sections – seven with text and the penultimate movement (the longest in the piece and first composed) for violin and orchestra with no voices.

Requiem Concerto is in memory of my first wife Katherine (Kippy) Harris who was a violinist with the Auckland Philharmonia Orchestra and my son Eliot Scholes.

• Scholes: Requiem Concerto; computer-set 

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• SOUNZ Contemporary Award Finalists 2008 

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• Peter Scholes - Requiem Concerto 

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• NZ Premieres 2008 Vol. 3 

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Flute doubles alto flute; piano doubles celeste. Percussion includes: two glockenspiels, xylophone, maracas, bongos, guiro, vibraphone, large gong (or tam tam), rainstick, sandpaper block, suspended cymbal, 3 temple blocks, woodblock, bass drum,

This group of pieces for choir and instrumental ensemble grew out of a short choral fanfare entitled Silver Whisper’, commissioned by Auckland Choral in 2000. The original fanfare is now the last piece in a suite of five movements.

The texts are based around the celebration of life in its many manifestations, exploring aspects of spring and the wonders of nature, ranging from the scuttle of insects to the unearthly song of whales, and concluding with a song of praise to the Creator. A small ensemble of flute, three percussionists, and two pianos (one doubling celesta) gives a flexible group with which to provide atmospheric and varied shades of accompaniment to the singers.

• Holmes: Silver Whispers; computer-set 

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• Holmes: Silver Whispers; computer set 

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• Farr: Te Wairua O Te Whenua; computer-set 

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Tenor and baritone solos; B flat clarinet

• Williams, M.: Tempus et Moutere; computer-set 

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• Tempus et Moutere 

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