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Eve de Castro-Robinson  

Chaos of Delight I

Duration: 08' 00" Year: 1995
for bass clarinet

  • Programme Note

    The first in my Chaos of Delight series of pieces based on birdsong, Chaos of Delight I requires the bass clarinettiest to trill, click, screech, book and roll in a virtuosic display of avian sonorities, using the full range of the instrument, from the boom of the kakapo to the shriek of the the morepork and the bleat of the bush falcon. All these can be heard amongst sounds which exploit the unique characteristics of the bass clarinet, such as its uncannily high register, slap tonguing and multiphonics.

    The title is taken from a passage in A Field Guide to the Birds of New Zealand by Falla, Gibson and Turbott: “…there are still many quiet places far from the madding crowd, where the mind can become, in Darwin’s phrase, ‘a chaos of delight’ at the abundance and variety of birds which pass before the eye or perplex the ear.”

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Dorothy Buchanan  

Flute Song for the Birds

Duration: 05' 00" Year: 1989
for solo flute

John Rimmer  

Hauturu - Where the Winds Rest

Duration: 09' 00" Year: 1992
for bass clarinet

Natalie Hunt  

Hawk

 Year: 2010
for clarinet quartet

Natalie Hunt  

Kaka

 Year: 2010
for clarinet quartet

Natalie Hunt  

Kawau

 Year: 2010
for clarinet quartet

Peter Willis  

Plight of the Flightless

Duration: 01' 00" Year: 2010
for clarinet quartet

Christopher Blake  

Sounds - an Evocation of Tahuahua, Queen Charlotte Sound

Duration: 14' 00" Year: 1985
for wind quintet

Anthony Ritchie  

Tui

Duration: 05' 00" Year: 2004
for solo flute

  • Programme Note

    Tui is based on calls from birds, recorded in Dunedin in 2003 by University student Vicki Payne. The composer helped to transcribe some calls, and was inspired to draw on these when Bridget Douglas commissioned him to write a short piece. The work uses a variety of special effects, influenced to some degree by the Tui. It has a quirky character with rapid ideas juxtaposed with moments of silence. Douglas premiered the work during a New Zealand tour in 2004, and recorded it for Trust Records late in that year.

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