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lifeless air become sinewed for solo bassoon is part of a cycle of pieces for wind instruments composed for the Slovene wind quintet Slowind. It was premiered by bassoonist Paolo Calligaris at the 2010 Slowind Festival in Ljubljana in a concert of the entire cycle. Fragments of sound conceived as timbral cells gradually grow and expand over a background of the sound of the instrumentalist breathing through the instrument in various ways. The process of growth of timbral material is punctuated by a layer of more active gestures.

• Hall: lifeless air become sinewed; computer set 

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• Hall: lifeless air become sinewed; computer set 

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Three minute-long pieces (the number three is important in other ways also) chronicling our heroic egg’s plunge into hot water (jostling for space in the pot); self-awareness (despair at not growing to be a fully-fledged chicken) and ultimate sacrifice at the dinner-table.

Written during a month-long residency in November 2005 at the Visby International Centre for Composers, Gotland, Sweden, and dedicated to this institute and its director Ramon Anthin. First performed by the Continuum Ensemble, Toronto, with narrator James Rolfe in Toronto in October 2006.

• Carey: Music to Boil an Egg By; facsimile 

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Nga ha o nehera, which translates from the Maori language as ‘a breath from the past’, was commissioned by and written for Ben Hoadley, with financial assistance from the Becroft Trust. Ben Hoadley gave the piece its first performance at the International Double Reed Convention in Melbourne in 2004. Nga ha o nehera is a five-movement suite, written after a taonga puoro wananga at Ohinemutu on the shores of Lake Rotorua. The first movement is ‘Nga ha o nehera’, meaning a breath from the past, the second, ‘puna wera’, describes the continual welling up of hot water from a spring at the edge of the lake, and the third, ‘Mokoia’, suggests the soundscape of Mokoia Island, which, as well as a major historical site, is also a bird sanctuary. The fourth movement He purakau, recounts a folk-story – not a specific tale, but suggesting the elements of all strong stories, and the last movement, ‘Ohinemutu’, locates the piece in place, and suggests something of the story of Hinetekakara, the ancestress of the Te Arawa people, whose untimely death gave the place its name.

• Whitehead: Nga ha o nehera; computer set 

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• Whitehead: Nga ha o nehera; computer-set 

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• Tuhonohono 

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• Tuhonohono: Music by Gillian Whitehead 

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• Gillian Whitehead: Arapātiki CD  Year: 2012 

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This solo for bassoon is in three contrasting sections, connected by brief interludes. The first section features a rapid repeated melodic figure; this reappears in different guises and dynamic levels. In the second part a cantabile melody is heard over a low ostinato of a perfect fifth. The third and most lively section is what I term a ‘rhythmic variation’; a repeated melody where the pitches remain constant while the rhythmic values change with each subsequent repetition. A melodic development leads to a short coda revisiting the figure heard at the beginning of the piece. Written for and dedicated to Ben Hoadley, in friendship.

• Carey: Soliloquy; facsimile 

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• Carey: Soliloquy; facsimile 

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• Rimmer: Southern Invention; computer-set 

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• Rimmer: Southern Invention; computer-set 

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• New Zealand Music for Woodwind 

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Three Windows in the Weather was written after a six-day visit to Dusky and Doubtful Sounds in Fiordland in October 2007. Ten artists (poets, visual artists, a composer and a film-maker) travelled on the Breaksea Girl to create work as a fund-raiser for the Caselberg Trust, who are restoring the Broad Bay house of Anna and John Caselberg for use for artist residencies.

Richard Henry was possibly New Zealand’s first conservationist, who rescued kakapo and other endangered birds, creating a sanctuary on Resolution Island, until, several years later, he saw a stoat swimming nearby, and realised the sanctuary was compromised. The second poem, Wet Jacket Arm, makes reference to the threatened biodiversity of the region, and the third refers to a gale experienced one night on the Breaksea Girl.

The official first performance, with Greg O’Brien reading his own poems, was in St Paul’s Cathedral in the Otago Festival of the Arts on October 8th, 2008. A ‘preview’ performance was given on September 26th by Ben Hoadley and Emma Sayers with Bill Manhire reading.

• Whitehead: Three Windows in the Weather; computer-set 

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• Gillian Whitehead: Arapātiki CD  Year: 2012 

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