I have a long history with the New Zealand String Quartet, having composed for them many times since my first quartet in 1993, Owhiro – and I've always felt that my understanding and love of string instruments has come directly from my experiences working with them. I was also lucky enough to work with Australia's Goldner Quartet in 2013 with my piece Te Tai O Rehua – and so when I was asked to write an octet for the two group's combined forces, I leaped at the chance.
String octets sit right on the cusp of chamber and orchestral music – small enough to be intimate and detailed, but with the weight and power to deliver a dramatic punch when necessary, and I've had fun working with this contrast of scope.
Contrast is really one of the main concepts of the piece – I had two completely opposing ideas for the piece, and I initially was pretty sure I'd have to pick one or the other. The first idea is entirely melodic, and (atypically for me!) deliberately avoids any rhythmic exploration, focusing more on counterpoint and clashing harmonies. The second idea is so entirely rhythmic that the group effectively transforms into a percussion ensemble. As it turned out, the two seemingly incompatible ideas complement each other, and function in symbiosis in spite of –or because of – their differences.
