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Taken from the Spanish word ‘Alborada’, Aubade (dawn) references Ravel’s great work Alborada del Gracioso. Opening with slow lyrical section the mood ranges between languid and energetic, contrasting the opening material with characterful Allegro sections. Originally composed for clarinet and piano, the piece was later orchestrated for Frank Gurr, at that time principal clarinet of the New Zealand Symphony Orchestra.

• Carr: Aubade; computer-set 

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• New Works for Clarinet and Piano - Anna McGregor, Emma Sayers and Buz Bryant-Greene 

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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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In many ways this is a companion piece to an earlier work, Vivid for solo trumpet, which also sets a powerful, sexually charged poem by Will Christie. But where Vivid is very often overtly violent and forceful in its gestures, deepwalker is mostly much subtler, almost passive-aggressive in outlook. The opening lines of the poem – “the day is a drum that connects these vocal loops with grey traffic circles bridge after bridge” – are mirrored in the cyclical, sometimes elliptical form of the work, loops and circles that play between registers of the clarinet. Sexual tension and aggression bubble away in the background, periodically rupturing the musical surface with piercing, angular outbursts, sometimes in parallel with the rather tender, fluid lines of the low register, and with the spoken text itself. This violent interplay creates a kind of disordered internal conversation, a bizarre hermetic character opening and shutting her windows; a clarinet of many voices.

Warning: contains coarse language

• Taylor: deepwalker; computer set 

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• Taylor: deepwalker; computer set 

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• Alex Taylor: deepwalker; audio 

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Composed for Clarinet and Piano or String Orchestra. The Romance is Ray’s first composition and the Dance is based on an aria from the children’s opera “The Three Shepherds”.

• Twomey: Diversion (Opus 1); computer-set 

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• Twomey: Diversion; computer-set 

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• New Zealand Music for Creative Dance (Volume Two) 

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• Reflections - Music Composed by Ray Twomey 

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• A New Dawning  Year: 1999 

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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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This work was commissioned by Wellington Chamber Music Society through SOUNZ/tender, a project of the Centre for New Zealand Music Trust.

Four Laments for Solo Clarinet consists of four short and rather quiet movements. Each movement takes its title and some aspects of its musical character from ‘lament’ in different languages.

• Harris: Four Laments for solo clarinet; computer-set 

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• Harris: Four Laments for solo clarinet; computer-set 

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• Ross Harris: Four Laments for Solo Clarinet; video 

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• SOUNZtender Concert - 2010 

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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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• Meridan: Insolitary; computer-set 

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Madrigal is based on the lute song Can She Excuse My Wrongs by the English composer John Dowland (1563-1626). It is built as a continuous series of free variations that progressively move further away from the original theme and that are not constrained by the original form or structure.

• Adams: Madrigal; computer-set 

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• Adams: Madrigal; computer-set 

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• Adams: Madrigal; computer-set 

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• Adams: Madrigal; computer-set 

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• New Works for Clarinet and Piano - Anna McGregor and Buz Bryant-Greene 

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• New Works for Clarinet and Piano - Anna McGregor, Emma Sayers and Buz Bryant-Greene 

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