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Ars Moriendi investigates the wide range of the bass clarinet through a four-part chorale texture with microtonal inflections and elaborations. From the tentative material at the beginning flowers more assertive proclamations in the dying moments of the piece.

• Norris: Ars Moriendi; computer set 

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• Michael Norris: Ars Moriendi 

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• Rimmer: At the Base of the Whirlpool; computer set 

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• Rimmer: At the Base of the Whirlpool; computer set 

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• Rimmer: At the Base of the Whirlpool; computer set 

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• Rimmer: At the Base of the Whirlpool; computer-set 

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• Rimmer: At the Base of the Whirlpool; computer-set 

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• 175 East vol. 5 

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Chaos of Delight IV continues my series of works inspired by NZ birdsong (Chaos of Delight I for bass clarinet, Chaos of Delight II for soprano, Chaos of Delight III for women’s voices) and in this case is a short, theatrical duo written especially for the talents of my colleagues Luca Manghi and Ben Hoadley. Some more recognizable birdcalls are: the thrush calls played by piccolo; the Paradise Duck in the bassoon; the Kokako played by both in unison and the Little Blue Penguin in the fluttertongued basson.

The work was premiered by the duo on October 22nd, 2008 in Auckland.

• de Castro-Robinson: Chaos of Delight IV; facsimile 

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• Schulz: Clarinet Duos Talk; facsimile 

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• Schulz: Clarinet Duos Talk; facsimile 

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• James: Aeolus; computer set 

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• James: Aeolus; facsimile 

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• James: Cryptogram; facsimile 

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• John Elmsly (ed.): Canzona Vol 7 No 23  Year: 1985 

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

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‘Duo for Clarinet and Bassoon’ is a short student work by Hugh Dixon written in a quasi-serial style.

• Dixon: Duo; computer set 

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• Dixon: Duo; computer set 

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• Dixon: Duo; computer set 

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These canons date from my student days at Cambridge University (England) and were first performed by fellow students there. One of these was Stanley Sadie, now editor of the New Grove Dictionary of Music. I have always enjoyed writing canonic textures.

• Farquhar: Five canons for two clarinets; facsimile  Year: 1988 

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• Farquhar: Five canons for two clarinets; facsimile  Year: 1998 

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• David Farquhar: Five Canons for Two Clarinets; audio 

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• David Farquhar: Five Canons  Year: 1988 

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• Thomson: Flaught; facsimile 

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In the tradition of the Maori, the indigenous people of New Zealand, Hine Raukatauri is the goddess of music and dance. She is embodied in the form of the female case-moth, who hangs in the bushes and sings in a pure, high voice to attract the male moths to her. Her hair is found as a fern, the hanging spleenwort, and her voice is heard in the sound of the putorino, an instrument known only in Aotearoa (the Maori name for New Zealand). The putorino is an instrument that can be played in various ways – as a flute, as a trumpet and as a means of enhancing or altering the human voice.

Hineraukatauri is written for two performers, one playing conventional flutes (piccolo, C and alto flutes), and the other for taonga puoro (instruments). The score features three different putorino, which, like all taonga puoro, (and also the songs and chants) have a small pitch range, rarely exceeding a fourth, which varies from instrument to instrument. Three putorino are used in this piece – one made of albatross bone and two of wood, and both the flute and trumpet voices are used. Other instruments used are a karanga manu (bird-caller), a purerehua (swung bull-roarer) and tumutumu (tapped instruments.)

The flute player’s part is notated, but the music for the taonga puoro is improvised; there are areas when the flute player is encouraged to improvise with the taonga.

• Whitehead: Hineraukatauri; facsimile 

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• Gillian Whitehead: Hineraukatauri; video 

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• Whitehead: Hineraukatauri 

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• NZIAF: Gillian Whitehead Portrait; part 1 

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• Tuhonohono: Music by Gillian Whitehead 

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• Tuhonohono 

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• Sound Barrier  Year: 2006 

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• Gillian Whitehead: Puhake ki te rangi  Year: 2007 

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• Luca Manghi: Quays  Year: 2012 

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