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Suite of pieces with poems that can be read between movements or omitted.

• Jagger: A Nursery of Pain; facsimile 

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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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Chaos of Delight IV continues my series of works inspired by NZ birdsong (Chaos of Delight I for bass clarinet, Chaos of Delight II for soprano, Chaos of Delight III for women’s voices) and in this case is a short, theatrical duo written especially for the talents of my colleagues Luca Manghi and Ben Hoadley. Some more recognizable birdcalls are: the thrush calls played by piccolo; the Paradise Duck in the bassoon; the Kokako played by both in unison and the Little Blue Penguin in the fluttertongued basson.

The work was premiered by the duo on October 22nd, 2008 in Auckland.

• de Castro-Robinson: Chaos of Delight IV; facsimile 

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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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• Alex Taylor: deepwalker 

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A work composed for Finnish wind quintet Idée Fixe on the request of the group’s clarinetist, Reetta Näätänen. E pari, e te tai translates as tide, flow on, a title that assumed a dark irony when, shortly after completion of the work, the Boxing Day Tsunami struck in the Indian Ocean. Premiered by Idée Fixe in Ikaalinen, Finland 2005.

• Watson, C.: E pari, e te tai; computer-set 

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• Watson, C.: E pari, e te tai; computer-set 

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• E pari, e te tai  Year: 2005 

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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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• Buchanan: Flute Song for the Birds; computer set 

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• Buchanan: Flute Song for the Birds; facsimile 

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• Little Dancings - a selection of flute music by New Zealand composers  Year: 1998 

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• Taurangi - New Zealand Music for flute and piano  Year: 2004 

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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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In the tradition of the Maori, the indigenous people of New Zealand, Hine Raukatauri is the goddess of music and dance. She is embodied in the form of the female case-moth, who hangs in the bushes and sings in a pure, high voice to attract the male moths to her. Her hair is found as a fern, the hanging spleenwort, and her voice is heard in the sound of the putorino, an instrument known only in Aotearoa (the Maori name for New Zealand). The putorino is an instrument that can be played in various ways – as a flute, as a trumpet and as a means of enhancing or altering the human voice.

Hineraukatauri is written for two performers, one playing conventional flutes (piccolo, C and alto flutes), and the other for taonga puoro (instruments). The score features three different putorino, which, like all taonga puoro, (and also the songs and chants) have a small pitch range, rarely exceeding a fourth, which varies from instrument to instrument. Three putorino are used in this piece – one made of albatross bone and two of wood, and both the flute and trumpet voices are used. Other instruments used are a karanga manu (bird-caller), a purerehua (swung bull-roarer) and tumutumu (tapped instruments.)

The flute player’s part is notated, but the music for the taonga puoro is improvised; there are areas when the flute player is encouraged to improvise with the taonga.

• Whitehead: Hineraukatauri; facsimile 

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• Gillian Whitehead: Hineraukatauri; video 

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• Whitehead: Hineraukatauri 

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• NZIAF: Gillian Whitehead Portrait; part 1 

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• Tuhonohono: Music by Gillian Whitehead 

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• Tuhonohono 

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• Sound Barrier  Year: 2006 

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• Gillian Whitehead: Puhake ki te rangi  Year: 2007 

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• Luca Manghi: Quays  Year: 2012 

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Invisible Waves, inspired by the Orewa Beach in Auckland, imitates the evening sea waves, sound of the seagulls accompany the sunset. The melodic material derives from a set of four-note A, G#, F, and D. The ascending scale-like motif appears several times to imitate the flow of sea waves.

• Chen: Invisible Waves; computer-set 

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• Chen: Invisible Waves; computer-set 

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