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Written in response to Bartok’s ‘44 Violin Duos’(1931) which were based on traditional East European melodies. Bartok was concerned that such tunes would become extinct and wanted to preserve them. ‘Birds Reply’ is also intended as an educational resource although the pieces are original compositions with Celtic, English, Balkan and Klezmer influences. On this recording Chris Prosser plays both violin parts.

• Prosser: Birds Reply to Bartok; computer-set 

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• Prosser: Birds Reply to Bartok: 44 Violin Duos; computer-set 

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• Accordatura Violin - Chris Prosser 

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• Prosser: Birds Reply to Bartok - 44 Violin Duos  Year: 2003 

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• Carr: Concerto for Oboe; facsimile 

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• Carr: Concerto for Oboe; facsimile 

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• Edwin Carr: Concerto for Oboe; video 

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• Carr: Concerto for Oboe 

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• Edwin Carr: Concerto for Oboe 

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• Diversions - Autour du hautbois  Year: 2010 

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This one movement work for chamber ensemble and Indonesian zither was composed especially for to Dody Satya Ekagustdiman who was artist in residence 2003 at Victoria University School of Music. The score is mostly graphic notation.

• Harsono: Geloria; facsimile 

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• Harsono: Gelora; facsimile 

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• William Harsono: Gelora and Death, the Hell 

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This is the “permanent exhibit” from the work in progress called ‘given what we gather takes place’. The model for the whole work is that of a museum in which some exhibits are on permanent display, and others are brought up from the storeroom. In other words, some sections of music are always to be played, while others are chosen by the performers from a pool of material to present a unique exhibition for each performance. The percussionist’s instrumental collection is similarly assembled; some categories of instruments are specified while others are chosen by the percussionist with the added stipulation that some aspect of the instruments chosen must be unique to the location of the performance. The music of this particular “exhibit” alludes to, but does not use, folk-like material and is conceived as a playful sparring match between two friendly opponents. ‘given what we gather takes place’ was commissioned by Resonate Duo, to whom it is dedicated, with funding from Creative New Zealand.

• Gardner: Given what we gather takes place; computer set 

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• Gardner: Given what we gather takes place; computer-set 

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• Given What We Gather Takes Place 

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A setting utilizing extended vocal techniques and a recording of early English riddles.

• Body: In the Curve of Song; computer-set 

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• Jack Body: In the Curve of Song; audio 

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A medicine bundle is part of the traditional teachings and practices of the First Nations peoples of North America. The title of the first Medicine Bundle piece, which I wrote as one of the many invited composers worldwide to contribute a piece for pianist Ananda Sukarlan’s Concerts for Bali commemorating the Bali bombing of October 2002, was my response to an article published in the Toronto Star, where an elder of the Six Nations Reserve of southern Ontario spoke of a ‘medicine bundle’ found within each of us; a place of healing and transformation which we can tap into in times of strife and need. I envisaged the bundle in this case as a bundle of notes from which the performer(s) can freely bring their own sensitivities, experiences and responses to the work’s realisation.

The score consists of one page allowing for a varying page orientation.

• Carey: Medicine Bundle (No. 2); facsimile 

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• Carey: Medicine Bundle (No. 2); facsimile 

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The nacelle is the main body of the top portion of a modern wind turbine, an enclosure housing an electrical generator, power control equipment, disc brakes and a gearbox. Rotating on its tower to constantly face the prevailing breeze and responding to wind force by setting thresholds for propeller speed, the nacelle is the brains of the operation. Nacelle continues my exploration of metric modulation and its relation to the movement and behaviour of machines, though with the added element of a soloist, who steers the music’s path through different tempi as well as defining the direction of the music’s texture and language; the soloist is the brains of the operation. Two cadenzas allow for an escape from the rigours of the metric scheme, where a subjective take on the timing of proceedings is permitted.

In 2003 I lived close to Wellington’s wind turbine and indulged in regular walks to the landmark.

Nacelle was performed in Christchurch, Wellington and Auckland by 175 East in April and May of 2003 with solo clarinetist Gretchen Dunsmore.

• Watson, C.: Nacelle; computer-set 

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• Watson, C.: Nacelle; computer set 

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• Chris Watson: Nacelle; audio 

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• 175 East: Microchix and newer stuff 

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• Selected Works: Utting, Watson, Cree Brown 

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• Chris Watson: Nacelle and Don't Mess with Texas  Year: 2003 

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Shadows Without Sun explores issues of exile, identity and belonging. The text uses testimony of asylum seekers in UK as well as stories of Norman McLeod, a minister who escaped the Highland Clearances and the story of the prophet Cassandra.

Notes taken from Cresswell: The Voice Inside, NAXOS 8.570824

• Lyell Cresswell: The Voice Inside 

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Central Otago holds a special place in the hearts of many people. This is clear to see in the wonderful book called ‘Timeless Land’ which combines the paintings of Grahame Sydney with the writings of Brian Turner and Owen Marshall. We decided early on to focus on the Maniototo, which is Grahame’s spiritual heartland and which has inspired so many of his great works. For me the Maniototo suggests a variety of feelings: awe at the expansiveness of the land and the surrounding ranges. There is the exhilarating beauty of the different seasons: the Autumnal colours for instance, or the bleak Winter images. There is the strange sense of freedom and escape that one experiences driving through the Maniototo. There can also be an overwhelming sense of loneliness, and feelings of insignificance when placed in such a vast, un-peopled landscape. Then there are the reminders of human impermanence, with decaying and abandoned structures, old graveyards and memorials. The Maniototo will mean different things to different people, but in this work I have tried to portray it in sound, as I feel it in my heart. So the music is not simply descriptive, or impressionistic; it also reflects human moods and emotions. While the music is designed to be combined with images, it can also stand alone. There is a loose symphonic structure in the four movements, with recurring themes and motifs. Most significant of these are the opening cornet melody, and an assertive cornet call that first appears in the middle of the second movement. This cornet call has a vague connection with The Last Post, and becomes a reminder of death in the third movement. Most themes and ideas in the music derive from the manipulations of a 5-note motif, using magic squares. The 5-note motif, which is never openly revealed in the piece, comes from a short Magnificat, composed at the time of my mother’s death in 2001.

• Ritchie A.: Timeless Land; computer-set 

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• Rimmer: Transcend: concerto for orchestra; computer-set 

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• Rimmer: Transcend: Concerto for Orchestra; computer-set 

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• John Rimmer: Transcend: Concerto for Orchestra; audio 

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• John Rimmer: Transcend - Concerto for orchestra 

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• Works: Farquhar, Harris and Rimmer 

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