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• Sound Barrier  Year: 2006 

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• Fanfares for a New Millennium  Year: 2000 

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2222; 42211; 3 perc.; 4 cymbals; cl; strings

It is impossible to live in Wellington without paying attention to its environment, or the environment paying attention to you. Equally, it is impossible to leave without carrying an interior imprint of its sharp green hills, scudding clouds, dragon sea, and particularly for me, those days when it suddenly all stops leaving the city suspended between a hush of blue sky and a seemingly frozen harbour. Blue Kisses Green is somehow ‘about’ this elemental ferociousness, delicacy, and beauty.

• Dugal McKinnon: Blue Kisses Green (Mono) 

  Part - recorded | CD
  

• McKinnon: Blue Kisses Green (Stereo) 

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• McKinnon: Blue Kisses Green 

  Part - recorded | Video
  

• McKinnon: Blue Kisses Green; computer-set 

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• McKinnon: Blue Kisses Green; computer-set 

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• McKinnon: Blue Kisses Green; computer-set 

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2*2*2* (doubling alto sax. in E flat) 2; 2200; 2 perc.; guitar (amplified); strings. Percussion: tam tam, bass drum, large suspended cymbal, wind chimes,glockenspiel, xylophone, bongos, 2 woodblocks (large and small), drum kit (including suspended cymbal, bass drum, small tom tom

Coming to It was commissioned by the Wellington Sinfonia (now Vector Wellington Orchestra) to collaborate with Sam Hunt. The poems and music speak from the heart about the everyday issues and concerns of ordinary people. There are poems about mothers, fathers, lovers, children and dogs. The poems touch on life and death, and the title incidents between that on the surface seem insignificant but have meaning for those involved. The scene is set in the opening poem, Coming to It. Some of the music is bluesy in character, as in the Plateau Songs, and some is folksy in style, as in A White Gentian, where the guitar and flute play a duet. Occasionally the music specifically describes the text, as in the hammering, migraine-like You House the Moon.

• Remember Parihaka - orchestral music by Anthony Ritchie  Year: 2009 

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solo clarinet

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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• Alex Taylor: deepwalker 

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2222; 4231; 3 perc; hp; strings

• Margetic: Dubina; computer-set 

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• Margetic: Dubina; computer-set 

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• Karlo Margetic: Dubina; audio 

  Media on Demand | Embedded
  

• NZCT Discovery Concerts 2006 Study Guide CD  Year: 2005 

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2220;2221;timp,2perc (xylo, bell tree, cymbals, gong, bass drum, triangle, tambourine, woodblocks, guiro, snare drum, vibraphone);strs.

This work for narrator, tenor and symphony orchestra highlights the impact on nature of man’s questionable progress. This idea is taken directly from Hone Tuwhare’s poem The Sea! To The Mountains! To The River which is the text for the soloist. Evolution is one continuous movement interspersed with nine vocal sections.

• Hulford: Evolution; facsimile 

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• Hulford: Evolution; facsimile 

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• Powell: Father's Telescope; electroacoustic part 

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• Powell: Father's Telescope; computer-set 

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• Kit Powell: Father's Telescope; audio 

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• Harlow - Powell: Radio NZ Archive Recordings 

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• Marshall: Flights of Fancy; computer-set 

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This work for solo flute and tape uses various modern playing techniques. Form inspired by a picture by Kokoschka.

• Powell: Floetenspieler und Fledermaeuse; facsimile 

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• Powell: Flötenspieler und Fledermäuse; facsimile 

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• Powell: Flötenspieler und Fledermäuse; electroacoustic part 

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• Powell: Prepared Tape  Year: 1994 

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