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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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Projections at Dawn is a musical reflection of a pure unpolluted environment. The opening suggests the cool, calm atmosphere of pre-dawn. A lively dawn sun-dance follows.

• Rimmer: Projections at Dawn; electroacoustic part 

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• Rimmer: Electronic Sounds 

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• Rimmer: Projections at Dawn; facsimile 

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• Rimmer: Projections at Dawn; facsimile 

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• Rimmer: Projections at Dawn; facsimile  Year: 1986 

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• Seaswell  Year: 1992 

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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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• Whitehead: The Pirate Moon; facsimile 

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• Whitehead: The Pirate Moon; facsimile 

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It is for amplified clarinet (with Ibanez Digital Delay DM1100), percussionist and drum machine (Roland TR606). It is for two human performers and a machine.
After extensive use of realtime signal processing during live performances with Ivan Zagni, Peter Scholes composed this piece for a series of concerts and a Radio New Zealand recording with percussionist Bruce McKinnon. The music contrasts the human performers with the mechanical precision of the drum machine. Sometimes the clarinet or the drum machine are processed through a delay device, the settings of which are varied throughout the piece to create different delay times and feedback effects.

The use of real time signal processing was also used by the composer in his composition “Islands II” which represented New Zealand in the 1993 UNESCO International Rostrum of Composers.
Later, Peter Scholes composed “Bonk” for Bruce McKinnon and the NZSO.

• Peter Scholes: Time For Three - downloadable PDF 

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• Peter Scholes: Time For Three - hardcopy score 

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• Peter Scholes: Time For Three; audio 

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• Triptych for trumpet and tape 

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• Elmsly: Triptych; computer set 

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

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