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A work in five movements for flute and piano. Each movement explores an aspect of rhythm. The three main movements are separated by two short interludes – based on the classical minuet and a Thai drum dance respectively.

• Blake: First and Second Interludes from "Little Dancings"; computer set 

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• Blake: Little Dancings; facsimile 

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• Little Dancings - a selection of flute music by New Zealand composers  Year: 1998 

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• Taurangi - New Zealand Music for flute and piano  Year: 2004 

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Nga ha o nehera, which translates from the Maori language as ‘a breath from the past’, was commissioned by and written for Ben Hoadley, with financial assistance from the Becroft Trust. Ben Hoadley gave the piece its first performance at the International Double Reed Convention in Melbourne in 2004. Nga ha o nehera is a five-movement suite, written after a taonga puoro wananga at Ohinemutu on the shores of Lake Rotorua. The first movement is ‘Nga ha o nehera’, meaning a breath from the past, the second, ‘puna wera’, describes the continual welling up of hot water from a spring at the edge of the lake, and the third, ‘Mokoia’, suggests the soundscape of Mokoia Island, which, as well as a major historical site, is also a bird sanctuary. The fourth movement He purakau, recounts a folk-story – not a specific tale, but suggesting the elements of all strong stories, and the last movement, ‘Ohinemutu’, locates the piece in place, and suggests something of the story of Hinetekakara, the ancestress of the Te Arawa people, whose untimely death gave the place its name.

• Whitehead: Nga ha o nehera; computer set 

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• Whitehead: Nga ha o nehera; computer-set 

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• Tuhonohono 

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• Tuhonohono: Music by Gillian Whitehead 

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• Gillian Whitehead: Arapātiki CD  Year: 2012 

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This work was originally for soprano saxophone and orchestra written in 1996, and was re-arranged for oboe and piano in 2002.

The first movement was inspired by cartoon characters and has a quirky quality. The middle slow movement is soulful and lyrical. The third movement begins sternly before morphing into a wistful waltz, which in turn changes into a fast, lively tempo.

• Ritchie, A.: Oboe Sonata; computer-set 

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• Ritchie, A.: Oboe Sonata; computer-set 

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• Diversions - Autour du hautbois  Year: 2010 

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In writing this work, the composer felt that whether by accident, design, or outright thievery, he drew influence from musical sources besides his own imagination. To that end, he would like to thank (in order of first appearance):
John Ritchie, John Elmsly, Douglas Lilburn, Claude Bolling, the Roy Hargrove Quintet, The Bad Plus, Dmitri Shostakovich, Rickie-Lee Fray (age 4), Radiohead, Sergei Prokofiev, Maurice Ravel, Sarah McCallum, Eve de Castro-Robinson, Mad Caddies, Witold Lutosławski, Gustav Mahler, Chick Corea, Elliott Carter, Robbie Ellis, Ludwig van Beethoven, Claude Debussy, a dead German, Kaikhosru Shapurji Sorabji, The Benka Boradovsky Bordello Band, Metallica, Francis Poulenc, Scott Joplin, Jerry Bock, Dave Brubeck, Family Guy, Slayer, a dead Spaniard, Gogol Bordello, The Cat Empire, David Rose, Jonny Doom and The Forcefields, a dead Austrian, a dead Russian, a dead Czech, the opening night cast of Improv: The Secondary School Musical, and The Army Of Skeggs.

• Ellis: Sonatina for Clarinet and Piano; computer-set 

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• Ellis: Sonatina for Clarinet and Piano; computer-set 

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• Ellis: Sonatina for clarinet and piano; computer-set 

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• Ellis: Sonatina for clarinet and piano; computer-set 

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• Robbie Ellis: Sonatina for clarinet and piano; audio 

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• New Works for Clarinet and Piano - Anna McGregor and Buz Bryant-Greene 

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• New Works for Clarinet and Piano - Anna McGregor, Emma Sayers and Buz Bryant-Greene 

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• Robbie Ellis: Sonatina for Clarinet and Piano 

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A sustained and challenging four movement work for solo instrument, the player switches from standard flute to piccolo for the scherzo-like third movement. Individual movements, especially the haunting second one, are sometimes played on their own, a practice approved by the composer.

• Lodge: Sonatina; computer-set 

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• New Zealand Composers  Year: 1994 

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This Wind Quintet was commissioned by Chamber Music New Zealand Trust to be performed by Zephyr, with funding from Creative New Zealand. It is a semi-programmatic piece, inspired by associations with Central Otago. There are three connected sections, with the following sub-titles:

I – Chill winds from the south and west
II – By the Dry Cardrona
III – A Procession of Clouds

These sub-titles come from lines and titles by New Zealand poets Brian Turner (I and III, both in the book Timeless Land) and James K. Baxter (II). Sections I and III reflect on the influence of the weather, while the middle section uses a New Zealand folk song as a basis for the material. Baxter’s poem By the Dry Cardrona was written in 1956 and was set to music by James McNeish and Don Toms. Numerous folk singers have adopted it, including Martin Curtis, to whom I owe my first experience of this marvelous song, on the album Gin and Raspberry. Part of the tune is subject to variations in this middle section.

The first section of the Wind Quintet is dominated by images of the wind, suggested by rapidly moving themes and patterns. There is some repose in a reflective second theme, which features bird-calls, announced on the flute and then taken up by the other instruments. These ideas are repeated and varied before the bird-calls fade, and the second section begins with strident flourishes on the clarinet. A stark solo on the flute is accompanied by cold-sounding chords, suggested images of winter. This is followed by solos on oboe and horn, before the music slips into the folk melody By the Dry Cardona, shared between flute and oboe. There are four variations on this melody and they conjure images of the expansive and wind-swept Cardrona valley. The section is rounded by a return to the strident flourishes, and the music leads into the final section, ‘A Procession of Clouds’. It is characterized by a constantly moving stream of notes, starting off in a meter of 7/8. The cry of birds is heard at one point, and a simple repeated theme in the middle suggests a human lying on their back, imagining shapes in the clouds. Similarities with the first section are made explicit in the coda, when the music eventually morphs back into the opening. The wind eventually dies out at the end.

• Ritchie, A.: Wind Quintet; computer-set 

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• Ritchie, A.: Wind Quintet; computer-set 

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• Music by Anthony Ritchie 

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