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The title Anxome is a contraction of the word “manxome”, from the phrase in Lewis Carroll’s The Jabberwocky: “long time his manxome foe he sought”. The piece is descriptive of a state of mind: at times anxious and shy, but also playful and cheeky. It was premiered in The Committee’s ‘Lightshift’ concert. Andrew Uren performed it from a high balcony, behind the audience, who were in the dark.

• Willis: Anxome; computer-set 

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• Willis: Anxome; computer-set 

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A miniature for Clarinet Quartet based on aspects of Baroque dance music.

• Adams, C.: Arianna's Dance; computer-set 

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• Adams, C.: Arianna's Dance; computer-set 

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• Adams, C.: Arianna's Dance; computer-set 

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• Adams, C.: Arianna's Dance; computer-set 

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• Microscore Madness! - the New Zealand Clarinet Quartet 

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• Aucott: At the Fair; computer-set 

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• Aucott: At the Fair; computer-set 

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

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Banda is a genre that sprang to life in the late nineteenth century when Mexican music collided with the polka of German immigrants. Traditional bandas are centred around the sousaphone and the tambora (a bass drum with a hi-hat on top). Beyond these, you’ll find further wind, brass and percussion instruments depending on the regional style: clarinets, saxophones, alto horns, trumpets, trombones, tarolas (snare drums) and more.

A few months before writing this piece I’d seen a YouTube video of Chicago group Banda Sincera performing before a Mexican national team football match*. The atmosphere was party, the tempo was quick, the time was compound, the licks were virtuosic, and the pulse was always getting disrupted at the ends of sections. The band would pause, the tarolero and sousaphone dude would go off on a soloistic tangent, and then the band was back in for more of the same. They even stuck a conga-based cumbia in the middle! These guys were mental and I loved it.

When I started on a piece for Saxcess I established the reasonably serious beginnings of Huff, but I kept getting pulled down this raucous Mexican garden path. I put the serious to one side, started a new score, took a few days to get this “banda chiflada” (crazy band) out of my system, and resumed composing Huff when I was done. They’re two very different pieces, but ultimately cut from the same cloth.

• Banda Sincera playing Arriba Pichátaro here: http://youtu.be/Cm1dcT710d8

• Ellis: Banda Chiflada; computer set 

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• Ellis: Banda Chiflada; computer set 

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This short piece was originally written as a twenty-1st birthday present for clarinettist Esther Smaill. The melodic fragment heard at the outset soon skitters over its own unstable surface, mutates into fanfare-like repetitions, is spliced with momentary cantabile inserts, is interrupted by slow motion signposts, and blows itself out in a final burst of energy.

• Gardner: Charge; computer-set 

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• Gardner: Charge; computer-set 

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This short piece was written as a twenty-first birthday present for clarinettist Esther Smaill. The melodic fragment heard at the outset soon skitters over its own unstable surface, mutates into fanfare-like repetitions, is spliced with momentary cantabile inserts, is interrupted by slow motion signposts, and blows itself out in a final burst of energy.

• Gardner: Charge; computer-set 

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• Gardner: Charge; computer-set 

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• Gardner: Charge; computer-set  Year: 2000 

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This short piece was written as a twenty-first birthday present for clarinetist Esther Smaill. The melodic fragment heard at the outset soon skitters over its own unstable surface, mutates into fanfare-like repetitions, is spliced with momentary cantabile inserts, is interrupted by slow motion signposts, and blows itself out in a final burst of energy.

• Gardner: Charge; computer-set 

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• Gardner: Charge; computer-set 

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• 175 East Vol. 1 

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• James Gardner: Selected Works 

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• Gardner: Charge and other works 

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• Ears Wide Open Taringa Areare Education Resource CD  Year: 2000 

  CD
  
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• Sound Barrier  Year: 2006 

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• Andrew Uren: Steep Steps  Year: 2011 

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Composed on my return to New Zealand after living for two years in Toronto; based on a randomly generated sequence of notes from Hong Kong composer Joshua Chan’s piece Circular Triangle.

This musical greeting received its first performance in Auckland in October, 2003 at the 09(03) Contemporary Music Festival. The performer on that occasion was violinist Mark Menzies.

• Carey: Circles in Circle (Auckland Greeting); facsimile 

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• Carey: Circles in Circle (Auckland Greeting); facsimile 

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This piece arose out of collaboration with multi instrumentalist, Adam Page. The fixed media track was composed as a “virtual ensemble” to accompany a soloist. The title “Crunch Time” is representative of the manic and stressful character of the piece.

• Briar Prastiti: Crunch Time - downloadable PDF & backing track 

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• Briar Prastiti: Crunch Time - hardcopy score & CD 

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A lively one movement work for average to advanced players, written in a very accessible style for recorder ensemble.

• Parsons: Dance Solo I; computer-set 

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• Parsons: Dance Solo I; computer-set 

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• Parsons: Dance Solo I; computer set 

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• Parsons: Dance Solo I; computer-set 

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