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This piece uses the image of a bird lost in a city, frantically trying to find a way out of the concrete that has engulfed its natural habitat. It is a political statement about the way that New Zealand is becoming this concrete jungle: individual greed and a lack of long term vision allow high intensity farming practices to destroy our rivers, and transitory councils allow increasing urban expansion to eat away at more and more of our natural land.

Flight was originally for solo flute and has been adapted by the composer especially for Anna McGregor; it is one of a number of his works that she has premiered. Although some of the lightness of the flute version is lost, the clarity and edge of the Eb Clarinet sound intensifies the frenetic elements of the piece.

• Adams: Flight - Lost in an urban(e) jungle; computer-set 

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• Adams: Flight - Lost in an urban(e) jungle; computer-set 

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• Chris Adams: Flight: Lost in an urban(e) jungle; audio 

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• Chris Adams: Flight: Lost in an urban(e) jungle 

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• de Castro-Robinson: Flourish; facsimile 

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The onomatopoeic word "flttttt” has its origins in the ancient Meidup language of Miunkelsneimistan, and it denotes an impaired yet frustrating fly. I first came across the word in a six-thousand-year-old sound recording which I uncovered on an archaeological dig in Miunkelsneimistan in late 2004. Despite the magnitude of this discovery, I withheld the recording from the wider academic community until I had a chance to transcribe it for two string players. The release of the recording was timed to coincide with my transcription’s premiere performance, given by Johnny Chang (violin) and Jessica Catron (cello) in the University of Auckland Music Theatre, on 10 March 2006.

I humbly acknowledge The Microscore Project for commissioning the archaeological dig. Dub dub dub dot myspace dot com slash theMicroscoreProject.

• Ellis: Flttttt; computer-set 

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• Ellis: Flttttt; computer-set 

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• Robbie Ellis: Flttttt; audio 

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• Robbie Ellis: Flttttt 

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The first movement is characterized by strong accents and motor rhythms. A wedged-shape opening theme is contrasted with a darker, smoother second theme. The movement has traces of sonata form though the structure is treated with freedom. A mysterious middle section builds to a climax, leading to a highly truncated and varied recapitulation.

In the second movement a florid flute melody contrasts with a heavy chordal motif on the piano. The somber mood is lightened a little by a higher pitched second idea that, nonetheless, has a rather sinister character. Towards the end, the flute part becomes freer in rhythm, like a small cadenza, and anticipates ideas in the third movement.


This final movement is connected to the second without a break, and is dance-like in mood. A quirky opening theme builds to a more robust second idea. As these ideas are developed a waltz-like section appears on the piano, contrasted with a more lyrical theme on flute. A reversed recapitulation of themes leads to a quicker coda, and the work ends with a flourish.

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

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• Ritchie: Flute Sonata; computer-set 

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

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This short piece was written for a festival of double bass players in Wells, England, organised by David Heyes, who commissioned the piece. It is part of an on-going commissioning series of double bass music. The piece is quirky and makes use of 12-note rows.

• Ritchie, A.: Four into Twelves...; computer-set 

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• Ritchie, A.: Four into Twelves...; computer-set 

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An exercise in response to tutoring first year students on fugue.

• Watson, C.: fugue; computer-set 

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• Watson, C.: fugue; computer-set 

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This poem, by Australian poet Judith Wright (1915-2000) is a simple image of dogs chasing a hare in the light of the full moon. The hare is imagined as jumping into the moon, while the dogs can only howl at the moon in frustration.

Judith Wright spent much of her life involved in campaigning for Aboriginal rights and fighting against environmental destruction.

Full Moon Rhyme was written for Leading Notes choir from Westlake Girls High School (conductor: Fiona Wilson).

• David Hamilton: Full Moon Rhyme - hardcopy score  Year: 2008 

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• David Hamilton: Full Moon Rhyme; audio 

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• The Treble Voice Choral Music of David Hamilton Vol. 4  Year: 2013 

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• Russell: God's Grandeur; computer set 

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• Russell: God's Grandeur; computer set 

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The solitary hawk rides the air with apparent ease.The elegant flight belies the need and intent to kill..so beware. The Al Capone of the air, cruises with shushing wingbeats and with no mercy.

A dramatic work suitable for an SATB ensemble of able soloistic voices and full piano.

• Russell: Hawk; computer set 

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• Russell: Hawk; computer set 

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The text for this work is a short poem by Lucille Clifton (1936-) suggesting an intense religious experience and part of the traditional Latin ‘Magnificat’. The choir is accompanied by pre-recorded sounds which are mostly bell-like sounds, some deep and some very high. Holy Night was written for Opus to sing at the 2000 Secondary Schools Choral Festival.

• Hamilton: Holy Night; computer set 

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• Hamilton: Holy Night; computer set 

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• David Hamilton: Holy Night; video 

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• The Treble Voice Choral Music of David Hamilton Vol 1 

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• The Big Sing Finale 2000  Year: 2000 

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• Sound Barrier  Year: 2006 

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