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alto flute/piccolo; clarinet in A; bass clarinet/small bamboo chimes to hang on music stand; horn in F/small bamboo chimes to hang on music stand; bass trombone/small bamboo chimes tohang on music stand; percussion: 2 suspended cymbals, hihat, sizzle cymbal, 3 toms, medium bass drum, 3 woodblocks, three sets of maracas, bamboo or wood chimes; harp; violin;viola; cello and bass

In this work, cycles of accumulation and decay move in broad wave-like gestures, recalling the sea. I am fascinated by the potency of the tiniest gesture, syllable or phoneme. Having no ‘meaning’ in itself, the syllable ‘and’ is weightless and transient, yet holds enormous power to link ideas; to create anticipation/momentum. It is like a wave bearing thought towards utterance. …and…11 was composed for, and is dedicated to, Chachi and Lontano.

• Ker: [...and...11]; computer set 

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• Ker: ...and...; computer set 

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• NZ Women Composers Vol. 2 

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• Dorothy Ker: ...and...  Year: 2002 

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• diffracted terrains: Chamber Music of Dorothy Ker  Year: 2007 

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trombone solo, flute, clarinet, bassoon (doubling contra bassoon), horn in F, trumpet, 2 percussion, 2 violins, viola, cello and double bass

• Gendall: Bop; computer-set  

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• Gendall: Bop; computer-set  

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for tenor saxophone, bassoon/contrabassoon, 2 flute, 2 clarinet, trumpet, piano, viola, cello, double bass

• Adams, C.: Chamber Concerto for Tenor Saxophone and Contrabassoon/Bassoon; computer-set 

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• Adams, C.: Chamber Concerto for Tenor Saxophone and Contrabassoon/Bassoon; computer-set 

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(1)2221; 2211; perc (ratchet, maraca, snare drum, tamtam, ref's whistle, woodblocks), timp, tape

“…imaginary ride on a cloud from the Tararuas, over to Levin, across to Kapiti Island, over Kapiti and back to Wellington…”

• Schulz: Dolphin Overture of Land and Sea; facsimile  

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• Schulz: Dolphin Overture of Land and Sea; facsimile 

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flute (doubles picc. and alto fl.); oboe (doubles cor anglais); B flat clarinet; horn in F; 1 percussion: marimba, vibraphone, bass drum, tam tam, sandpaper blocks and percussion cluster

“The boundary between collection and fetishism is mediated by classification and display in tension with accumulation and secrecy.” Two musical strands run virtually throughout this short piece, sometimes clearly differentiated, at other times more obscure and confused, but always at some level presenting an opposition between an ‘organic’, accretional layer and an ‘inorganic’ abruptly changing one. This opposition can operate not only at surface level – as it does at the beginning, when two highly differentiated instrumental combinations are presented, each with their own characteristic modes of behaviour – but also at a subcutaneous level, when applied to various ways of generating or modifying the basic material. These concerns form only the technical armature and implementation of the piece, of course, and much of the original musical imagery was suggested by Borges’ short story The Circular Ruins.

While giving the obligatory (questionable?) disclaimer about the piece in no way being programmatic, much of the mood and atmosphere of the story was certainly in my mind during the initial sketching stages, and it seems to me that its central conceit – one human dreaming another into existence, by sheer will – is a marvellous metaphor for the act of composition.

• Gardner: Fetish Effigies; computer-set 

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• Gardner: Fetish Effigies; computer-set  Year: 2005 

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• James Gardner: Selected Works 

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• Gardner: Charge and other works 

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• Waiteata Collection of New Zealand Music Vol. 8 - Chamber Music II  Year: 2005 

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flute, clarinet, bass clarinet, horn, trumpet, piano, percussion, 2 violins, viola, cello, double bass

• Lardelli: Four Fragments; computer set 

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• Lardelli: Four Fragments; computer set 

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• Waiteata Collection of New Zealand Music Vol. 7 - Emerging Composers  Year: 2003 

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kecapi, clarinet, trombone, timpani, percussion, harp, piano, violin, viola, cello, double bass

This one movement work for chamber ensemble and Indonesian zither was composed especially for to Dody Satya Ekagustdiman who was artist in residence 2003 at Victoria University School of Music. The score is mostly graphic notation.

• Harsono: Geloria; facsimile 

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• Harsono: Gelora; facsimile 

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• William Harsono: Gelora and Death, the Hell 

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clarinet, 2 saxophones, 4 glockenspiel, 2 vibraphone, grand piano

• Langford: Geoffrey-a motley feathered duck; computer-set 

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• Langford: Geoffrey - a motley feathered duck... 

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flute (doubling bass flute & piccolo), B flat clarinet, two bass clarinets in B flat, trumpet in C, percussion (2 players), harp, piano, 2 violins, cello, electronics; percussion: Xylophone, glockenspiel, 3 triangles (small, medium, large), 3 suspended cymbals (splash cymbal, medium cymbal, large cymbal), 3 cowbells, 3 brake drums (or Thai gongs, or metal blocks, or a mixture), 3 Chinese gongs, 5 woodblocks, bass drum

• Norris: Icons and Artifice; computer-set 

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• Norris: Icons and Artifice; computer-set 

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• Two works by Michael Norris 

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• Norric: Icons and Artifice 

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2 fl. (dbl. alto flute, 2 players), oboe (dbl. cor anglais, 1 player), clarinets (1), piano, percussion (1 player: vibraphone, triangle, maracas, rainsticks, 3 gongs of different sizes, small tambourine), drumkit, violins (2), viola, cellos (2), bass, taonga puoro: wooden koauau, iwi kuri, iwi maire, large putorino, putatara, porotiti, birdcalls; 1-2 baroque sopranos, 1 chamber soprano, 1 Maori female voice (alto range)

• Bisley: In Memoriam; facsimile 

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• Bisley: In Memoriam; facsimile 

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