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“Composition for Solo Viola” explores the gradual growth of material from a single note to long chains of gestures. The soft opening sound, which returns throughout the piece, delineates each of the sections, allowing for clear perception of the process of expansion. Each new section of the piece is generated by overlaying the previous two sections, in such a way so as to expand the material both in time and spatially. “Composition for Solo Viola” was written for and is dedicated to Justine Goode.

• Hall: Composition for Solo Viola; facsimile 

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• Hall: Composition for Solo Viola; facsimile 

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• Elmsly: Dialogue III; facsimile 

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• Besser: Duo for violin and piano; facsimile 

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• Jonathan Besser: Duo for Violin and Piano; audio 

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• Jonathan Besser: Duo for Violin and Piano 

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A suite in seven movements, the first and last of which (for piano solo) act as a prologue and epilogue to the main part of the work. The genesis of the piece is the chord progression outlined by the piano in the first movement, accompanied by uneasy chromatic lines in the bass register; these elements are explored in various ways in subsequent movements. There are optional parts for small bell (movement 3) and gongs (movement 5). The lyrical qualities expressed in the work’s title come most to the fore in the sixth movement, a cantabile melody in the violin heard over descending sostenuto progressions in the piano. In the third movement the left hand of the piano is taken from Stockhausen’s 1951 composition Spiel.

Composed for the opening of the new School of Music Building, Victoria University of Wellington, in 1989, and performed on this occasion by Gavin Saunders (violin), Ross Carey (piano) and Gareth Farr (percussion).

• Carey: Lyric Suite; facsimile 

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• Carey: Lyric Suite; facsimile 

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In this work, inspired by Paekakariki on the Kapiti Coast – ‘home’ during the composer’s six-week residency at Victoria University in 1989 – the relationship between music and environment is particularly strong. The cello’s low repeated D, which opens the piece, is the fundamental pitch heard in the sea and the restless semi-quavers evoke the continuous movement of waves crashing on the Paekakariki shore. Whitehead’s fascination with medieval philosophy and music, incorporating concepts of natural cycles, is reflected both in the title and in the compositional process, where magic squares were used to generate the background structure.
(Programme note by Emma Carle and Jack Body).

“This is a rich evocative piece that is never merely picturesque, as the title might suggest. It has a lyrical complexity reminiscent of Tippett… (it) achieves moments of great beauty.” (Tim Bridgewater, The Dominion).

“The highlight for me was the premiere of Gillian Whitehead’s Moon Tides, and Shoreline. … Perhaps there are marine associations to be heard in the score, but, more importantly, one appreciates the work’s cool and eminently logical form. The various musical motifs are inventive in themselves and intriguingly handled.” (William Dart, Music in New Zealand)

• Whitehead: Moon, Tides and Shoreline; facsimile 

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• Whitehead: Moon, Tides and Shoreline; computer-set 

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• Gillian Whitehead: Various Works 

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• Waiteata Collection of New Zealand Music Vol. 3 - Composer Portrait: Gillian Whitehead  Year: 2000 

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• Langford: Mostly in B flat; computer-set 

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• Waiteata Collection of New Zealand Music Vol. 1 - A Violin and Piano Recital  Year: 1999 

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• Sound Barrier  Year: 2006 

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• Farquhar: String Quartet; facsimile 

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• Farquhar: String Quartet; facsimile 

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• Farquhar: String Quartet; facsimile 

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• Music by David Farquhar  Year: 1993 

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This is a set of variations inspired by Copland’s Piano Variations and depicting Auckland rather than New York. Beginning quietly and sombrely, it moves steadily towards a fierce climax before dying away with a hint of better things to come. This work was written for the CANZ ’90 series of concerts held at Auckland University. The composer is pleased with it and the way it was performed though it did not receive a very good review in Canzona; it was considered too restricted in its make-up. The composer is unrepentant.

• Hinds: String Quartet ('Tale of a City'); facsimile 

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• Hinds: String Quartet ('Tale of a City'); facsimile 

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