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This fanfare for full orchestra was “…refreshing… (Its) gradual thickening of layers of bird calls to abrasive Varesian dissonances near the end had a concise dramatic momentum and coherence.” lan Dando, NZ Listener. (It) “…begins with sounds that could only be New Zealand ones.” LCM Saunders, NZ Herald.

• de Castro-Robinson: Aurora; facsimile 

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• Eve de Castro-Robinson: Aurora 

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• Eve de Castro Robinson: Works 3 

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This song cycle for soprano and piano has texts by the composer in Maori and English.

“Awa Herea memorably evokes the physical appearance of symbolic significance of these braided rivers… cosmic weather-driven energy.” (Covell, Sydney Morning Herald).

“Its pace was shrewdly varied and the music encompassed a range of styles – from sung declamation to florid lyricism – without incongruity.” (Jack, Independent).

“The cycle displays all the characteristics of her [Gillian Whitehead’s] mature work. The vocal line is at once exultant and contemplative, the piano writing incisive or lulling; the formal shaping novel yet accessible. It is a memorable piece, filled with the energetic spirit of the natural world and finding through that spirit its own serenity.”

• Whitehead: Awa Herea; computer-set 

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• Whitehead: Awa Herea; computer-set 

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• Whitehead: Awa Herea; facsimile 

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• NZIAF: Gillian Whitehead Portrait; part 2 

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• Waikohu: Mere Boynton and Friends 

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• Tracey Chadwell's Songbook  Year: 1995 

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

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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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• de Castro-Robinson: Chaos of Delight III; computer-set 

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• de Castro-Robinson: Chaos of Delight III; computer-set  Year: 2006 

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• Eve de Castro-Robinson 

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• New Zealand Choral Music  Year: 1998 

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• Tower New Zealand Voices: Spirit of the Land  Year: 2006 

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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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• New Zealand Electronic Music 

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• New Zealand Electronic Music 

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• Lilburn: Complete Electroacoustic Works 

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De Aestibus Rerum was composed for the centenary of the University of Auckland in 1983, and received its first performance in November of that year. The title means ‘on the ebb and flow of things’ and the work is based on a number of distinctive rhythmic and timbral ideas which grow and recede. One hears fluidic patterns, clear octaves with coloured resonances, shimmerings and tremolos, bird-like calls and repeated notes which move frequently at different speeds. A feature of the work is the free open sounding passages marked ‘cadenzas’ for clarinet, violin, cello and horn. In two of these passages the instruments proceed independently of each other.

This work received first prize in the chamber music category of the International Horn Society Competition in 1984 and the work was subsequently performed at the International Horn Symposium, Detmold, Germany, in September 1986 by the Virginia Tech Ensemble.

De Aestibus Rerum was recorded by the Karlheinz Company in October 1984.

• Rimmer: De Aestibus Rerum; facsimile 

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• Rimmer: De Aestibus Rerum; facsimile 

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• Waiteata Collection of New Zealand Music Vol. 10 - John Rimmer: Chamber Music  Year: 2008 

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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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One of the most beautiful sounds of the New Zealand forest is the clear, bell-like call of the Kokako. The first and last pieces in this set of five piano pieces develop various melodic ideas of this call while the remaining pieces suggest various flight patterns and man’s encroachment on the habitat of the bird.

This popular piano work in five sections has had many performances worldwide including Norway, Morocco and Paraguay.

• Rimmer: For the Kokako; facsimile 

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• First Fifteen - a selection of piano music by NZ composers  Year: 1996 

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• Margaret Lion plays Rimmer and Farquhar 

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• Mozart Fellows Concert 2007 - Vol. 1 

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• Sea Changes  Year: 1986 

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• Farr: From Forgotten Forests; computer-set 

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• Gareth Farr: Chamber Music  Year: 1997 

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