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Landscape Prelude is imbued with the spirit of New Zealand’s west coast on a still day. The accompanying poem begins:

“barely stirs the dark ripple

through liquid bell-tones

ancient echoes

of grey-green tree-gods

high sky

wild crags and rocks

the deep earth gong beats…”


A less than reassuring human element also enters the picture…

• McLeod: Landscape Prelude; computer-set 

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• McLeod: Landscape Prelude; computer set 

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• Landscape Preludes  Year: 2011 

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• Jenny McLeod: Landscape Prelude; video 

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• Stephen de Pledge - Landscape Preludes  

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• An Interview with Stephen de Pledge  

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• Stephen de Pledge plays Landscape Prelude by Jenny McLeod 

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The title A landscape with too few lovers is taken from the fourth panel of Northland Panels by Colin McCahon.

• Harris: Piano Prelude - a landscape with too few lovers; computer-set 

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• Harris: Piano Prelude - a landscape with too few lovers; computer set 

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• Landscape Preludes  Year: 2011 

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• Ross Harris: A landscape with too few lovers; video 

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• Stephen de Pledge - Landscape Preludes  

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• Stephen de Pledge plays A landscape with too few lovers by Ross Harris 

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Reign was inspired by the imagery of the Hone Tuwhare poem Reign Again. Tuwhare’s words talk of the unwavering nature of weather.

On a musical level this short piece is inspired by the polyphonic keyboard works of J.S. Bach.

• Lardelli: Reign; computer-set 

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• Lardelli: Reign; computer-set 

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• Landscape Preludes  Year: 2011 

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• Dylan Lardelli: Reign; video 

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• Stephen de Pledge - Landscape Preludes  

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Arapatiki was commissioned by Stephen De Pledge as one of a series of Landscape preludes, and received its first performance in the Wigmore Hall, London, in January, 2004. Arapatiki translates (from the Maori language) as ‘the way of the flounder’, and is the ancient name of the sand flats in front of my house at Harwood, near Dunedin. The piece has something to do with the advance and retreat of the tide across the flats, where many species of sea and water birds spend much of the day – an ever-varying water-scape. The opening idea is based on the song of the korimako or bellbird.

• Whitehead: Arapatiki; computer-set 

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• Whitehead: Arapatiki; computer-set 

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• Landscape Preludes  Year: 2011 

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• Gillian Whitehead: Arapatiki; video 

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• Gillian Whitehead: Various Works 

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• Stephen de Pledge - Landscape Preludes  

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• Stephen de Pledge plays Arapatiki by Gillian Whitehead 

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• Tuhonohono: Music by Gillian Whitehead 

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• An Interview with Gillian Whitehead 

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• Stephen de Pledge: Three Landscape Preludes  Year: 2004 

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• Gillian Whitehead: Arapātiki CD  Year: 2012 

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The title is taken from the poem Spring Drift Kawhia by New Zealand poet Denys Trussell and refers to the shallow tidal harbour of Kawhia on the western coast of the North Island:

“Now hills half-stripped of gods rim this liquid drift of light, and the sea-eye flashes mosaic beneath a nest of cliffs startling the shag in its pine-black tower.”

The evocative phrase provided the inspiration for this ‘landscape prelude’, written with gratitude to its commissioner, the wonderfully poetic pianist Stephen De Pledge. It was premiered by him in the Wigmore Hall, London, on 23rd January 2004.

• de Castro-Robinson: this liquid drift of light; facsimile 

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• de Castro-Robinson: this liquid drift of light; facsimile 

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• Landscape Preludes  Year: 2011 

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• Eve de Castro-Robinson: this liquid drift of light; audio 

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• Eve de Castro-Robinson: this liquid drift of light; video 

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• Stephen de Pledge - Landscape Preludes  

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• Stephen de Pledge: Three Landscape Preludes  Year: 2004 

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sleeper
noun

a person who is asleep

a train carrying sleeping cars

a railroad tie

• Psathas: Sleeper; computer-set 

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• Landscape Preludes  Year: 2011 

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• John Psathas: Sleeper; video 

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• Stephen de Pledge - Landscape Preludes  

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• Stephen de Pledge plays Sleeper by John Psathas 

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• An Interview with John Psathas  

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• John Psathas: Helix  Year: 2011 

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‘Terrain vague’ is marginalised urban space often ignored in traditional architectural discourse. Terrain vague is underused or misused. It is liminal space, transitional, under construction, in process. Terrain vague presents problems and offers resistance.

• Holloway: Terrain Vague; computer set 

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• Holloway: Terrain Vague; computer-set 

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• Landscape Preludes  Year: 2011 

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• Samuel Holloway: Terrain Vague; video 

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• NZ Premieres 2008 Vol. 2 

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• Stephen de Pledge - Landscape Preludes  

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• Stephen de Pledge plays Terrain Vague by Samuel Holloway 

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In the book Consciousness Explained Daniel Dennett convincingly argues that there is nothing about human consciousness, emotion or experience that cannot be encompassed by a purely physical, biological and mechanical explanation. We do not need to refer to some ‘soul’ or ’mind’s eye’ to describe our experiences. We are, in short, machines – just very clever machines.

These three short miniatures push the performer to the limits, yet, paradoxically, a ‘human’ reading of the score still brings to the surface a more energetic, compelling and arguably musical performance than a merely mechanical rendition.

• Norris: Machine Noise; computer set 

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• Norris: Machine Noise; computer set 

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• Landscape Preludes  Year: 2011 

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• Michael Norris: Machine Noise; video 

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• Stephen de Pledge - Landscape Preludes  

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Everyone of my generation remembers the ‘Goodnight Kiwi’ – the animation that used to signal the end of television for the night in the days when we only had two channels to choose from.

I remember the rare occasions I was allowed to stay up late enough to see the Goodnight Kiwi carry out his nightly duties. It was always way past my bedtime and therefore overwhelmingly exciting. But I always felt very melancholy afterwards. I would lie awake for hours thinking about the kiwi shutting down the power and climbing up to sleep in the sky. It seemed so final.

As I was composing this piece in 2004, my mother was approaching the end of a long illness and she and I were going through a process of looking through photographs, telling the stories that accompanied them and wondering what
lay ahead. It made me remember long summers, lawn-mowers, barbeques, pohutukawa trees at the beach and a time in life that wasn’t weighed down with responsibilities or fears for the future. This piece is an emotional landscape that tries to evoke that feeling of nostalgia, presenting childhood memories into which the future begins to creep.

I imagined my mother was setting off on the same journey as the kiwi… wandering through the building, shutting down the power and then climbing up to sleep in the sky. I wrote this piece for her.

• Kelly: Goodnight Kiwi; facsimile 

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• Landscape Preludes  Year: 2011 

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• Victoria Kelly: Goodnight Kiwi; video 

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• Stephen de Pledge - Landscape Preludes  

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• Stephen de Pledge: Three Landscape Preludes  Year: 2004 

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• Michael Houstoun: Inland (CD & DVD set)  Year: 2007 

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This prelude is a musical representation of the view I see at twilight from my studio on the South Coast of Wellington – the moody dark green depths of Cook Strait, the inky blue sky, and the endless unbroken horizon dividing the two. Fishing boats sit on the horizon all lit up, looking like little gleaming gemstones in the darkness. The occasional gust of wind stirs up wild eddies on the surface of the water, and the odd rogue wave hurls itself onto the rocks and up into the air in a spectacular explosion of sea spray.

• Landscape Preludes  Year: 2011 

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• Gareth Farr: The Horizon from Owhiro Bay; video 

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• Gareth Farr: The Horizon at Owhiro Bay; video 

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• Stephen de Pledge - Landscape Preludes  

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• An Interview with Gareth Farr 

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• Stephen de Pledge plays The Horizon at Owhiro Bay by Gareth Farr 

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• Gareth Farr: Horizon  Year: 2012 

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