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This chamber work takes as its starting point a 13th century hurdy-gurdy melody “Como poden per sas culpas”. The work has featured at a festival in Sendai Japan, and has been performed several times in New Zealand.

• Hamilton: Hurdy Gurdy; computer-set 

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• Hamilton: Hurdy Gurdy; computer-set 

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• Hamilton: Hurdy Gurdy; facsimile 

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• David Hamilton: Hurdy Gurdy; audio 

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In 1987 the composer visited China and searched out the music of some of China’s so-called minority peoples. Field records made on this visit form the core of the work: the instrumental writing is mean as an enchancing backdrop to direct our listening to the ‘interior’ of the music.
First is heard to long-ge, a three-bladed Jews harp of the Yi nationality (Sichuan province). Next three women of the Miao nationality (Guizhou province) sing a melody of strong character with long notes and leaping intervals further enhanced by the gradual melting into a unison. The words mean “though we die, our songs like mountains, go on forever”. Finally we hear an ensemble of lusheng played by youths of the Ge nationality (Guizhou province) accompanying a dance. This six-piped bamboo mouth organ is common in the south of China and is found in various forms throughout Laos, Cambodia, Thailand and parts of Indonesia.

Notes taken from Ritual Auras, Atoll CD (ACD 842)

• Body: Interior; facsimile 

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• Body: Interior; facsimile 

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• Jack Body: Interior; video (complete) 

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• Jack Body: Interior; video (excerpt) 

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• Jack Body: Interior; audio 

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• Jack Body: Interior 

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• Ritual Auras - Karlheinz Company  Year: 2011 

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• Elmsly: Movement; computer set 

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• John Elmsly: Movement; audio 

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• Holmes: Nonette; facsimile 

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• Holmes: Nonette; facsimile 

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• Leonie Holmes: Nonette; audio 

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Ritual Auras was created using repeated blocks of rugged instrumental colour. These suggested the title but also shape the piece: the music combines ritornello and variation forms to produce sound halos whose nexus is a solo flute passage heard part way through. Although the score is fully notated there are many places where players have freedom to interact and respond to each other. It should be listened to as a series of sculptural explorations of implicit radiance, or a succession of views of personality.

Notes taken from Ritual Auras, Atoll CD (ACD 842)

• John Elmsly: Ritual Auras; audio 

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• Ritual Auras - Karlheinz Company  Year: 2011 

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Written for the composition tutor at the 1985 Cambridge Music School, John Elmsly, Slides 5 received its first performance in 1987 at a University of Auckland concert. The combination here is of baroque flute with crotales (tuned antique cymbals). The pitch range here is much narrower than with a conventional flute. One particular feature of the music is a fingered tremolo while a single pitch is held, thereby causing microtonal fluctuations in the pitch of that note.

• Hamilton: Slides 3, 5, 6 and 8; facsimile 

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• David Hamilton: Slides 5; audio 

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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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• Cresswell: Variations on a theme by Charles Ives; computer set  Year: 1991 

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• Lyell Cresswell: Variations on a Theme by Charles Ives; video 

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• 175 East Vol. 2 

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• Lyell Cresswell: Anake and other works  Year: 2000 

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