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This work commissioned by the City of Aberdeen is in one continuous movement comprising eleven sections. The orchestra has 3 roles – to accompany, to assist the quartet and to supply much of the musical argument – it is of equal importance to the quartet. At its first performance, this work was described as “astoundingly successful”.

• Cresswell: Concerto for Orchestra and String Quartet; computer set 

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• New Zealand New Music in Scotland 

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• Ryan: Concerto for tuba and orchestra; computer-set 

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• Ryan: Concerto for tuba and orchestra; computer-set 

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For prepared piano and exploring pianist, uses the classic piano piano preparations: coins (to detune the strings), screws, wiring insulation sheathing, plus bubble wrap, a rubber ball and small wooden balls, two round stones, a bowl gong, mallets and a water glass. The piece was commissioned by Lois Svard, to whom it is dedicated and who has given many superb performances of it.

When I started experimenting with these objects on my own piano, I found that even slight changes in the method of producing a sound evoked striking variants in sonic details, for example: rocking a stone gently between two sets of strings brins out several pitches and their overtones, iterating in unpredictable rhythms. Getting the stone to rock really hard adds higher pitches and at times the stone will turn over, setting of a new set of strings and pitches, which gradually fade away as the stone comes to rest.

The work is set up as an open-ended exploration, in which have determined which ‘tools’ are to be used in each section, and the pianist is asked to listen closely to the sounds created by each action, and to explore further the variants which arise when she or he uses a little more pressure and change of speed, a slightly different wrist position, a different make of piano. I think of this experience as “ear-walking”, like a hiker exploring a landscape.

Annea Lockwood

• Lockwood: Ear-Walking Woman; facsimile 

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• Lockwood: Ear-Walking Woman - Lois Svard  Year: 2005 

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• Gareth Farr: From the Depths Sound the Great Sea Gongs - hardcopy score 

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• Gareth Farr: Orchestral Music  Year: 1997 

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• Symphony of Sails  Year: 2002 

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• Gareth Farr: From the Depths Sound the Great Sea Gongs  Year: 2009 

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This work for orchestra and organ was commissioned by Uwe Alexander-Grodd and the St. Matthews Chamber Orchestra and premiered in November 1996. Based on Maori themes, it is in three movements.

• John Wells: Organ Concerto (organ part) - hardcopy score 

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• Wells plays Wells 

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These pieces utilise Abelian form, a concept I developed whereby the proportions of a large form were reflected in its constituent parts. A large form, for instance, has sections A, B, C, D, and E, with respective durations t1, t2, t3, t4, t5. A, B, C, D, E also have subsections whose proportions are also t1, t2, t3, t4, t5. We can designate the subsections of A as Aa, Ab, Ac, Ad and Ae, and similarly for the others. The whole process can be shown in the following table: Aa Ab Ac Ad Ae Ba Bb Bc Bd Be Ca Cb Cc Cd Ce Da Db Dc Dd De Ea Eb Ec Ed Ee This looks like a mathematical Abelian Group – hence the name. The durations of subsections symmetrically placed about the leading diagonal (Aa, Bb, Cc, Dd and Ee) are also equal because duration of Ab = duration of Ba, duration of Ac = duration of Ca, etc. This fact led me to use the same material in matching subsections, often mirrored. In PIANO POEMS 1, 4, 8 and 9 I use this form; although the proportions are all equal, the Abelian shape determines the order. 1 Abelian form (3 X 3 matrix) with overlaps 2 a mirror piece 3 a chance piece: the contents of the four different chords and their order and the interruptions by the fist rolls were all determined by chance 4 Abelian form (4 X 4 matrix): all sections are four bars long. Subsection Ab is the mirror of subsection Bb, etc 5 Free form 6 Bogen form: A, B, C, C’, B’, A’, where A’ is the augmentation of A, etc 7 Free variations on a short melody 8 Abelian form (3 X 3 matrix): all repetitions are shortened 9 Abelian form (4 X 4 matrix) using fragments from sections 1 to 8

• Powell: Piano Poems; computer set 

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• Waiteata Collection of New Zealand Music Vol. 2 - Chamber Music  Year: 1997 

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• Dixon: Raga Rewa; computer set 

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• Dixon: Raga Rewa; computer set 

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A central idea to ‘Symphony in Five Movements’ concerns aspects of timing. Its form was partially inspired by the martial arts treatise ‘Go Rin No Sho’ (A Book of Five Rings), which considers timing and its relationship to strategy. The five books are: Ground, Water, Fire, Wind & Void. There is a loose correspondence between the inspiration behind some of the movements and each of the ‘books.’ Thus, the third movement refers to the book of tradition ‘wind’ and consequently, is modelled on a scherzo, not only paying tribute to Beethoven, but in a broader sense indicating the desire to give the entire work a historical reference. The Introduction or first movement is analogous to the ‘ground’ book (the path), outlining the Symphony’s musical ideas. The fifth movement (‘void’) has a strongly rhythmic structure with contemporary influence throughout, reflected in, and overlayed with its violin-based lyrical stream. This strongly linear work was described by Denys Trussell in a subsequent review for ‘Quote Unquote’ after its Auckland Philharmonia Orchestra performance in 1996 as being “rich with feeling and atmosphere.” The fourth and fifith movements were given a reading by the New Zealand Symphony Orchestra conducted by Hamish McKeich at the NZSO – SOUNZ Readings in October 2001 in Wellington.

• Keay: Symphony in Five Movements; computer-set 

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• Keay: Symphony in Five Movements; computer-set 

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• Nigel Keay: Symphony in Five Movements; audio 

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• New Zealand Music: Marshall and Keay 

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• Nigel Keay: Works 

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• APO Commissions of NZ Music 1995 - 1997 

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“This number relates to an amazing and scary tract of land up in the Southern Alps full of Limestone plinths and warrens that Gillian Whitehead and I visited in 1995. We were both scared and feel we’d seen a major something. Gillian, I believe, has written her own response to this place”

• Carr: Ten Concert Studies Book 1; computer-set  Year: 1996 

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• Tahu Matheson plays Carr and Rachmaninov  Year: 1997 

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