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• Fanfares for a New Millennium  Year: 2000 

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‘Baxter Songs’ is a setting of three poems by James K Baxter. The three poems are ‘High Country Weather’, ‘Let time be still’ and an extract from ‘Stephanie’. The first two poems were composed early in the poets career and express his more romantic sentiments. When I hear these poems, I think of Baxter as a young poet in the South Island (Otago and Canterbury universities) exploring the Otago hinterland. I think, too, of the early days of his relationship with Jacqui Sturm and imagine the two of them exploring the hills and mountains. The extract from ‘Stephanie’ is from much later in Baxter’s life. He is older now and life has had its way with Baxter (or perhaps the other way around?). The poem follows a family tragedy and there is a sense of heartbreak in the voice.

• Royal: Baxter Songs; computer set 

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• Royal: Baxter Songs; computer set 

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• Charles Royal: Baxter Songs; video 

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• Ker: City; facsimile 

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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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In April 1981 Denise Hulford ‘discovered’ Sam Hunt’s poem DREAMS and was immediately impressed with the very descriptive words which became an inspiration for this setting of the poem for Mezzo-Soprano and Flute. As a composer and singer Denise Hulford has been fascinated by the voice and its potential for manipulation whilst being able to blend with other timbres.

• Hulford: Dreams; facsimile 

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• Hulford: Dreams; facsimile 

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2222; 4231; 3 perc; hp; strings

• Margetic: Dubina; computer-set 

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• Karlo Margetic: Dubina; audio 

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• 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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(1)2222; 4331; timp., 2 perc. (side drum, bass drum, sus. cymbals, crash cymbals, tambourine, xylophone, glock.); strs

Auckland City is a harbour city and often referred to as the ‘City of Sails’. This short fanfare composed in 2002 is a salute to the sailing vessels that sail and race with pride on Auckland’s sparkling Waitemata Harbour.

• Daverne: Fanfare and Procession; computer-set 

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• Daverne: Fanfare and Procession; computer-set 

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• Gary Daverne: Gallipoli 

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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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