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Fluchtig was composed in 1986. The title comes from the German word fluchtig – fleeting – used by Schoenberg and others in various compositions (eg. Op. 19 No. 1). The work is built around the interaction between flute multiphonics (two or more notes played simultaneously) with their characteristic ‘fleeting’ nature, and FM sound on tape.

• Ross Harris: Fluchtig 

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• New Zealand Sounds - October Sound 

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• Ross Harris: Inner Worlds  Year: 1993 

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Gestauqua was composed in February and March 1989, for Concord Brass Quintet, then resident at SUNY Fredonia and directed by Grant Cooper

• Elmsly: Gestauqua; facsimile 

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• Elmsly: Gestauqua; electroacoustic part 

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• Elmsly: Gestauqua; facsimile 

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• Elmsly: Gestauqua; facsimile 

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• Grant Cooper and Concord Brass: Points in a Changing Circle 

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• Tabuh Pacific  Year: 1995 

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Shifting Shadows (2012) is inspired by Stockhausen’s Mikrophonie 1 (1964), in which the sounds of a tam-tam are manipulated in real time by the movement of hand-held microphones and through electronic filtering and diffusion of the amplified sound.

In my work three traditional Javanese gamelan instruments – gambang (xylophone), slenthem (metalophone), and rebab (spiked fiddle) – are activated by an array of household materials to generate sounds. In live performance I intend for additional ‘players’ to create other layers of sound using a microphone as a musical instrument. The recording attempts to convey this layering of sound.

The character of Shifting Shadows was inspired by the idea of the ‘familiar spirit’, which in old European folklore is a supernatural entity, sometimes taking the form of an animal or human figure, to assist witches and other cunning folk. The sounds used in Shifting Shadows are eerie, intimate and gestural, giving the impression of an unknown creature.

• Briar Prastiti: Shifting Shadows - hardcopy score 

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• Briar Prastiti: Shifting Shadows - downloadable PDF 

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• Shifting Shadows - audio CD 

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Scored for two SSATB choirs with two homs, this work sets a poem by Miguel de Unamuno in Spanish. This work has been performed in Australia, England and the USA, as well as throughout New Zealand.

It is a setting of a short poem by the Spanish poet Miguel de Unamuno (1864-1936) and begins by setting the text in a fragmentary manner, choosing single key words from the poem: canta (singing), luna (moon), sosegada (lulling), blanca (white), and sola (alone). Throughout, I have sought to evoke a mood of stillness and calm (except at the two main climaxes), and much of the writing consists of simple diatonic chords alternating between the two choirs. The work ends, as it began, alternating the words ‘canta’ and ‘luna’.

The unusual scoring came about through my friendship with a fine horn player and singer – a flippant comment about unorthodox combinations of forces (although I have heard one other work for horn and choir) providing the germ of idea which eventually did bear fruit.

The Moon is Silently Singing is one of my most widely preformed works internationally, having been heard in Australia, Canada, Germany, England and the USA.

• Hamilton: The Moon is Silently Singing; computer-set 

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• Hamilton: The Moon is Silently Singing; computer-set 

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• Hamilton: The Moon is Silently Singing; computer-set  Year: 2004 

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• New Zealand National Youth Choir: Te Roopu Rangatahi Waiata o Aotea Roa  Year: 1992 

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• The Moon is Silently Singing  Year: 1994 

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• Tower New Zealand Youth Choir: Winds that Whisper  Year: 1998 

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• Pink and White - New Zealand Organ Music  Year: 2005 

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• Bisley: Waiata; facsimile 

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• Bisley: Waiata; facsimile 

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• Under the Southern Cross: works for cello 

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