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Counting through the tones of ‘In a Landscape’ by John Cage, in the manner of counting a rosary. The title means an offering to Buddha; this is not so much a material offering but more that of a good heart.

Composed in Toronto in June, 2001 and first performed by the Natsuki Emura Piano Duo in a concert of New Zealand piano music at MusiCasa, Tokyo in October 2001.

• Carey: A Won for Buddha; facsimile 

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• Carey: A Won for Buddha; facsimile 

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This piano suite contains five pieces describing the local scenery and legends of Achill Island in Ireland.

• Parker: Achill Suite; computer-set 

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• Parker: Achill Suite and Other Works  Year: 2003 

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• Nigel Keay: Adagietto Antique; audio 

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• Nigel Keay: Music for Small Groups  Year: 2011 

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In January 1998 Gareth Farr was commissioned by the James Wallace Chariable Trust to write this Piano Trio for the Ogen Trio, a leading NZ ensemble. Taking its subtitle Ahi from the Maori word for “fire”, it received its debut performance in Auckland, NZ in March 1998 in the presence of the composer. The style of the work varies in each of the four movements: the flavour of a French lullaby predominates in the first; an intense and unrelenting second movement harbours overtones of a Russian military factory; whilst a Balinese pop-inspired fourth movement contains numerous gamelan-like effects. The brief third movement is merely a quiet interlude, with a melodic reference to the first movement. The composition stands in stark contrast to Farr’s previous works. He has experimented with stripping away the density characteristic of past compositions in favour of clearer textures, exploring classical form, and allowing a simplicity of line to come through and speak for itself.

• Farr: Ahi; computer-set 

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• Gareth Farr: Ahi; video 

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• Gareth Farr: Ahi; audio 

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• Ogen Trio - Piano Trios by Beethoven, Dvorak and Farr  Year: 1999 

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• New Zealand Trio - Spark  Year: 2004 

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• Ahi - The Ogen Trio  Year: 2008 

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• New Zealand Sonic Art Vol II  Year: 2000 

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• Morgan: Armannai; computer set 

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• Brownlee: As if to catch the fleeting tail of time; computer-set 

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• Brownlee: As if to catch the fleeting tail of time; computer-set 

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• Philip Brownlee: As if to catch the fleeting tail of time; audio 

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• Philip Brownlee: As if to catch the fleeting tail of time; video 

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• Philip Brownlee: As if to catch the fleeting tail of time 

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• Two pieces by Philip Brownlee 

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“He Hides himself so wondrously, As though there were no God” Scottish Psalter 1615

• Harris: As though there were no God; computer-set 

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• Harris: As though there were no God; computer-set 

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• Ross Harris: As though there were no God; audio 

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• Harris: As though there were no God; CD 

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• Premieres 2004, Volume 3 

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Broken Glass portrays a dialogue between two opposing natures about the passing of beauty as represented by the two instruments of guitar and violin. It is a meditation on how two people create the ending within themselves for their mutual story, and collaborate through both tension and surrender to bring that ending to life.

• Goss: Broken Glass; computer-set 

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• Goss: Broken Glass; computer-set 

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• Thomas Goss: Broken Glass 

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My brother and his partner had two black cats, Doris, the elder (and undisputed boss), was half the size of Stanley. The cats arrived one day quite unheralded, realised they were onto a good thing, and promptly settled down as rulers of the house. In old age Doris went slightly spastic and wonky. We all thought she would go first, but she lived my brother.

Jenny McLeod

• McLeod: Cat Dreams; computer-set 

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• McLeod: Cat Dreams; computer-set 

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• McLeod: Cat Dreams; computer-set 

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• McLeod: Cat Dreams; computer-set 

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