About My Work
My contributions to classical guitar in New Zealand span performing, composing, and broadcasting. Since 2008, my compositions have been featured on Radio New Zealand and overseas broadcasts, and appear on two international CD releases. While my output may not always align with conventional academic approaches to guitar composition, it has received recognition from performers, critics, and audiences alike.
Compositional Approach
Much of my music is composed directly at the guitar, much as many composers throughout history have worked at the keyboard when shaping their ideas. At the same time, I explore other approaches — sometimes working away from the instrument, or testing out unconventional methods, in order to think outside the box.
Although I am not an academic composer by profession, I have studied composition at university level and been exposed to a wide range of concepts. These have influenced the way I work, helping me refine my aims and preferences, while still allowing instinct and imagination to play a central role.
I do not begin with a “cookie-cutter” plan such as sonata form, but prefer to let the music evolve organically. This approach allows for freedom, freshness, and variety — qualities that listeners and performers have often noted. Some have been surprised by the stylistic range of my output, which reflects my eclectic taste in music and my openness to exploring different expressive possibilities.
From the outset, my aim has been to produce original music for the classical guitar that is approachable and appealing to listeners. I have deliberately avoided relying on the typical idioms of Spanish and South American guitar traditions — while acknowledging the instrument often leans in those directions. Striving for a voice that is distinctively my own remains central to my work. I do not always succeed in meeting these aims, but they remain an important guiding principle in my work.
While some works I have created, for example Tarakihi and Oakura Chimes, explore directions that may not have broad appeal, I aim to keep even my more adventurous pieces within reach of listeners. There are always limits, and a degree of approachability remains important to me.
Context in New Zealand Classical Guitar
New Zealand’s classical guitar community is small but vibrant, and I am proud to be part of it. While historical surveys often focus on composers from earlier generations, my work represents a contemporary perspective that continues to evolve alongside the instrument. My contributions complement those of other performers and educators, adding to the diversity of compositional voices in the country.
Acknowledgements
I am grateful to colleagues, performers, and broadcasters who have championed my music, and to the wider classical guitar community for supporting a spectrum of approaches, from the traditionally idiomatic to the more exploratory.