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• Kenneth Young: Variations on a Prayer - hardcopy score  Year: 2011 

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• Waiteata Collection of New Zealand Music Vol. 13 - NZ Piano Music for 4 Hands  Year: 2012 

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• Carr: Variations on a Theme by Beethoven; computer-set 

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• Carr: Variations on a Theme by Beethoven; facsimile 

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• Georgina Zellan-Smith plays New Zealand piano works  Year: 2000 

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• Cresswell: Variations on a theme by Charles Ives; computer set  Year: 1991 

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• Lyell Cresswell: Variations on a Theme by Charles Ives; video 

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• 175 East Vol. 2 

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• Lyell Cresswell: Anake and other works  Year: 2000 

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Written as an assignment by composers at the Cambridge Music School 1948

• Variations on a Theme by D. Lilburn; facsimile 

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• Douglas Lilburn: Complete Piano Music Volume 3  Year: 2011 

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This work is based on material from the opera At the Hawk’s Well, specifically, the tonal thematic material associated with the Young Man which also appears later in the Dance Music. Constructed in an arch-form, both the violin and the cello share a dialogue based on a strong lyrical melody. On the idea of variation, is not so much employed in the classical sense as the principal melody stays constant, the variation occurs in the accompanying texture throughout the piece. In the outer sections the melody is presented in a somewhat exuberant manner by the violin in contrast to the cello where it is more subdued.

• Keay: Variations on a theme from "At the Hawk's Well"; computer-set 

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• Keay: Variations on a theme from "At the Hawk's Well"; computer-set 

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• Keay: At the Hawk's Well; computer-set 

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• Keay: Variations .... "At the Hawk's Well"; computer-set 

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• Nigel Keay: Music for Small Groups  Year: 2011 

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Variations on a Young Violinist has the standard form of the classical “theme-and-variations” model. Yet it explores and modifies more than just the ubiquitous theme from Niccolò Paganini’s 24th Caprice, which is stated at the opening. The work also illustrates the varying moods and mindsets of being a young musician, with anxiety, exuberance, melancholy, awe, frustration, hilarity, determination, and giddiness being just a few of the emotional textures that dictate the character of individual sections.

The strings state the theme with terse simplicity before giving way to the solo violin, which banters the melody about with double-stops and bravura swoops and dives. A dancey variation follows with rustling pizzicati supporting a pensive, expanding soliloquy. Rustle becomes bustle with a rhythmically ambiguous tear through the strings. A savage gesture segues to the next variation, alternately suspending and unleashing the nervous energy inherent in the theme. The solo violin now takes a lead role as Paganini’s motive is twisted by a spooky, anguished waltz, exalted in a calm, heartfelt hymn, and saddled in a racing moto perpetuo. There is even a sassy, bluesy turn to the proceedings before the final elegy brings the work to bittersweet, reverent close.

• Goss: Variations on a Young Violinist; computer-set 

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• Goss: Variations on a Young Violinist; computer-set 

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• Goss: Variations on a Young Violinist; computer-set 

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• Goss: Variations on a Young Violinist; computer-set 

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• Thomas Goss: Variations on a Young Violinist  

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• Wells: Variations on Adeste Fideles; computer-set 

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• John Wells: Variations on Adeste Fideles; audio 

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• Biddington: Variations on an English Nursery Rhyme; computer-set 

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• Eric Biddington: Mad Music 

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• Eric Biddington - Variations on an English Nursery Rhyme 

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• Maurice Faulknor: Organ Works - hardcopy score 

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• Wells: Variations on Good King Wenceslas; computer set 

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