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• Sinclair: Caprice Intermezzo Dance; computer-set 

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• A Musical Six - Instrumental and orchestral works 

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The first in my Chaos of Delight series of pieces based on birdsong, Chaos of Delight I requires the bass clarinettiest to trill, click, screech, book and roll in a virtuosic display of avian sonorities, using the full range of the instrument, from the boom of the kakapo to the shriek of the the morepork and the bleat of the bush falcon. All these can be heard amongst sounds which exploit the unique characteristics of the bass clarinet, such as its uncannily high register, slap tonguing and multiphonics.

The title is taken from a passage in A Field Guide to the Birds of New Zealand by Falla, Gibson and Turbott: “…there are still many quiet places far from the madding crowd, where the mind can become, in Darwin’s phrase, ‘a chaos of delight’ at the abundance and variety of birds which pass before the eye or perplex the ear.”

• de Castro-Robinson: A Chaos of Delight I; facsimile 

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• De Castro-Robinson: Chaos of Delight I; computer-set  Year: 2006 

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• A Chaos of Delight: music by Eve de Castro-Robinson  Year: 1998 

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• X – Ros Dunlop plays music for clarinet  Year: 2001 

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This short piece was written as a twenty-first birthday present for clarinetist Esther Smaill. The melodic fragment heard at the outset soon skitters over its own unstable surface, mutates into fanfare-like repetitions, is spliced with momentary cantabile inserts, is interrupted by slow motion signposts, and blows itself out in a final burst of energy.

• Gardner: Charge; computer-set 

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• Gardner: Charge; computer-set 

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• 175 East Vol. 1 

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• James Gardner: Selected Works 

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• Gardner: Charge and other works 

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• Ears Wide Open Taringa Areare Education Resource CD  Year: 2000 

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• Sound Barrier  Year: 2006 

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• Andrew Uren: Steep Steps  Year: 2011 

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Circo II was written in 1996 during the composer’s course of postgraduate study at the University of Canterbury and is dedicated to Deborah Ashworth, a bass clarinettist from Wellington, who gave its first performances. The inspiration for Circo II was the desire to explore the range of sounds of a lesser-used instrument, sounds which may appear very unlike a bass clarinet. Compositions by William O.Smith (USA) and Peter Scholes (NZ) were influential during the composition of the work. The bass clarinet begins, singing in its uppermost register, rather like a male voice in its falsetto register. Soon it descends to its deepest notes, eventually breaking out in a display of harmonics, trills and ‘colour fingerings’. The work ends as it began, returning to the smooth vocal lines.

• Instone: Circo II; facsimile 

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• Instone: Circo II; facsimile 

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• Contemporary Canterbury 

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• SOUNZfine Volume 4  Year: 2000 

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• Speak: Epeisodos; computer set 

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• Speak: Epeisodos for E flat clarinet; computer-set 

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• Jeroen Speak: Epeisodos; audio 

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• 175 East Vol 7 

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• 175 East Vol. 8 

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• Jeroen Speak: Epeisodos 

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• Speak: Epeisodos; computer-set 

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• Evans: Five miniatures for a week in August; computer set 

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• Evans: Five miniatures for a week in August; computer-set 

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• Rimmer: Hauturu-Where the Winds Rest; facsimile 

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• 175 East Vol. 1 

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• X – Ros Dunlop plays music for clarinet  Year: 2001 

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I wrote this piece for myself to perform as part of a solo programme. The title is the motto of my grandmother’s Scottish clan, the McLeods – hence the influence of solo bagpipe music (the more fluid, free parts of the piece) and pipe band music (the more rhythmic, driven parts).

• Audain: Hold Fast; computer-set 

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• Audain: Hold Fast; computer-set 

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• Audain: Hold Fast 

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• Meridan: Insolitary; computer-set 

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