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• Gao: Bright Light and Cloud Shadows; computer-set 

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• Gao: Bright Light and Cloud Shadows; computer-set 

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• Asian Music for String Quartet  Year: 2012 

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• Hextall: Cyclic Currents; computer-set 

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• Hextall: Cyclic Currents; computer-set 

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• Samuel Holloway: Dualities - downloadable PDF 

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• Statham: Elena's Waltz; computer-set 

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• Statham: Elena's Waltz; computer-set 

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• Statham: Elena's Waltz; computer-set 

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• In Retrospect - Quintets, Quartets and Trios by Keith Statham 

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• Keith Statham: ...of wine and roses  Year: 2011 

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Fanitullen was written for the 2007 Michael Hill International Violin Competition. It was partly inspired by Scandinavian folk-fiddle playing and Stravinsky’s Soldier’s Tale. It is said that ‘fanitullen’ (the devil’s tune) was first played by the devil himself who appeared, hooves and all, at a village dance. He grabbed the fiddle and began playing a tune so wonderful that the gathered people continued dancing until they died from exhaustion – and then their corpses continued dancing until their skulls rolled out of the door and down the hill!

• Harris: Fanitullen (the devil's song); computer-set 

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• Harris: Fanitullen (the devil's song); computer-set 

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The onomatopoeic word "flttttt” has its origins in the ancient Meidup language of Miunkelsneimistan, and it denotes an impaired yet frustrating fly. I first came across the word in a six-thousand-year-old sound recording which I uncovered on an archaeological dig in Miunkelsneimistan in late 2004. Despite the magnitude of this discovery, I withheld the recording from the wider academic community until I had a chance to transcribe it for two string players. The release of the recording was timed to coincide with my transcription’s premiere performance, given by Johnny Chang (violin) and Jessica Catron (cello) in the University of Auckland Music Theatre, on 10 March 2006.

I humbly acknowledge The Microscore Project for commissioning the archaeological dig. Dub dub dub dot myspace dot com slash theMicroscoreProject.

• Ellis: Flttttt; computer-set 

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• Ellis: Flttttt; computer-set 

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• Robbie Ellis: Flttttt; audio 

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• Robbie Ellis: Flttttt 

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Games draws its inspiration from the first movement of Shostakovich’s String Quartet No.3, Op. 73, particularly the opening theme, played by the first violin. I have taken this melody and played games with it; twisting it, bending it, fragmenting it and developing the resulting material in ways that journey far from the theme. The outcome is a new and exciting piece of music.

Games was used as a compulsory piece in round two of the Adam International Cello Competition in 2006.

• Toan: Games; computer-set 

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• Toan: Games; computer set 

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• Statham: Happy Days; computer-set 

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• Statham: Happy Days; computer-set 

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• Statham: Happy Days; computer-set 

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• In Retrospect - Quintets, Quartets and Trios by Keith Statham 

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• Keith Statham: ...of wine and roses  Year: 2011 

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Digital folk music for an imaginary culture. Written for Arnold Marinissen and the Zapp String Quartet, who premiered the work in Eindhoven, Oct 2006.

• McKinnon: Hoax Rifts; computer-set 

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While no Lyric Suite, this is my most ambitious composition to date, combining multiple musical cultures dating over the past 1,000 years. It is dedicated to my wife, Shayna. The first movement owes something to the world of Janacek, and is even based upon a Czech folk tune (which one hears partially disguised at one point).
The second (no jokes about “La Quesadilla,” please), is based upon music I have heard played by South Mexican street bands. A simple melody becomes more fragmented until it distorts into this nightmarish scherzo.

Talencourt starts with direct transcription of a Quebecois folk melody as originally played in the 1920s by “Villeneuve and Bouchard” a violin and accordion duo – later released on the 1985 album You Can Tell the World About This (Morning Star Records). It is then given short variation treatment in the styles of Bartók, Stravinsky, Prokofiev, and Rachmaninov, in that order. The rest of the work is a mirror image of itself right back to the very beginning.

The fourth movement only lasts around a minute, and is a setting of the medieval melody (anonymously written) of the same name.

Mache Dich Mein Geist Bereit is a setting of a chorale melody, in quickly contrasting alternating sections of a March and a “Pseudo-Adagio” (which is at the same speed as the march, but the notes are obviously held much longer). Mahler probably would have hated this piece, but I don’t care, I will always love Mahler’s music.

Shir Ha-Shirim is a toccata-like distortion of a medieval Jewish setting of a text from the Song of Songs, III / 1, “By night on my bed I sought him whom my soul loved; I sought him, but I found him not.” The Song of Songs is a love-song from God to Israel and vice-versa and it is read at Passover. After a short reprise of Hore Cerny the melody returns to the toccata, thereafter quietly dispersing.


Matthew Davidson

• Davidson: Music for String Trio; computer-set 

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• Davidson: Music for String Trio; computer-set 

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• Davidson: Music for String Trio; computer-set 

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• Davidson: Music for String Trio; computer-set 

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• Davidson: Music for String Trio; facsimile 

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• Davidson: Music for String Trio; facsimile 

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• Talencourt  Year: 2008 

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