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• Felicity Williams: The Quangle Wangle  Year: 1992 

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This work was written before and after a visit to Colyton, where a cousin of the composer has a farm, and whose daughter was playing ’cello in the orchestra at the time. He intended the work to reflect the rural open spaces that provide welcome relief for a city-dweller.

• Hinds: Colyton Overture; facsimile 

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This musical analogy to the physical phenomenon of light breaking up is written in a pointillistic style, with sinuous melodic fragments leaping across the piano keyboard in jagged cross-rhythmic dancing. Angular counter- melodies are provided by a chamber orchestra of single winds and brass with 14 strings in this single movement.

The idea of diffractions is represented in sound by the piano, central and prominent, exploiting an aspect of its technique to which it is ideally suited: rapid changes of direction and wide intervallic leaps with extreme dynamics. The orchestra provides bands of coloured spectra forming an integrated texture. The melody, oscillating and colourful is sometimes pointillistic and at other times it flows into longer continuous phrases.

Diffractions is essentially an abstract work in one continuous movement.

• Keay: Diffractions; facsimile 

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• Keay: Diffractions; facsimile 

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• Music by Nigel Keay 

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• Nigel Keay - Various Works 

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The original version of this arrangement was one of several made in 1987 for my choir Opus at Epsom Girls Grammar School. They were intended as straightforward arrangements of well-known Maori pieces for treble voice choirs. A version for mixed-voice choir (SSATB) was made in 1996 for the New Zealand and Australian tour by the St. Olaf Choir of Minnesota (conductor: Anton Armstrong).

The Maori people were the earliest settlers in New Zealand, arriving in the country about a thousand years ago. This piece belongs to the more recent “concert party” tradition of Maori music, rather than the traditional pre-European musical forms and styles. Before European contact, the music of the Maori people consisted largely of monophonic chants with a very limited range of pitches. The early missionaries brought with them their own musical styles which were soon taken over by the Maori people. Many well-known Maori songs are really a mix of European and early Maori forms.

Hine e Hine is a gentle lullaby. It was written by Fannie Rose Howie (1868-1916) who performed under the stage name of Princess Te Rangi Pai. Born in the Gisborne area of Maori and European parents, she showed early interest in singing, and after marrying undertook study in Australia and England. Her fine contralto voice, and natural stage presence, lead to a significant recital career both in England and in New Zealand on her return in 1905. Illness dogged the last years of her life, and she is now best remembered for this song.

• Hamilton: Hine e Hine; computer-set  Year: 2009 

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An orchestral work which grew out of an earlier version for chamber orchestra, which in turn evolved from part of the wind octet Kaleidoscope. Overall it is an extrovert piece. A popular programming choice with youth orchestras it has been toured overseas by both Auckland and Christchurch Youth Orchestras.

• Hamilton: Kaleidoscope; facsimile 

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• Hamilton: Kaleidoscope Variations 2; facsimile 

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Originally a work in four movements written for the Amici Trio, this was later revised in 2002 to include two new movements, Scherzo and Intermezzo.

• Biddington: Music for Friends Vol. 1; facsimile 

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• Biddington: Music for Friends Vol. 1; facsimile 

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• Biddington: Music for Friends; computer-set 

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• Biddington: Music for Friends; computer-set 

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• Biddington: Music for Friends; computer-set  Year: 2002 

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• New Zealand Music for Creative Dance (Volume Two) 

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• Music for Friends: the chamber music of Eric Biddington  Year: 1997 

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• Canzona: Music for Younger Players 

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