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The title Anxome is a contraction of the word “manxome”, from the phrase in Lewis Carroll’s The Jabberwocky: “long time his manxome foe he sought”. The piece is descriptive of a state of mind: at times anxious and shy, but also playful and cheeky. It was premiered in The Committee’s ‘Lightshift’ concert. Andrew Uren performed it from a high balcony, behind the audience, who were in the dark.

• Willis: Anxome; computer-set 

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• Willis: Anxome; computer-set 

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A play on words (the Dutch word Bijl translates to axe in English) and the common reference to the saxophone of jazz players as a “axe”.

• Jamieson: AXE; computer-set 

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The word azimuth originates from Arabic and means “the arc of the horizon to the zenith” (highest point ie straight above you). In this piece, the sense of the gradual movement from a still point to a climax is obvious.

The idea of an azimuth is very mathematical and have reflected this in the symmetry and balance of the work – creating a “calculated” path of progress – very suited to the minimalist inspirations at play.

Jeni Little

• Little: Azimuth; computer-set 

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• Little: Azimuth; computer-set 

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• Little: Azimuth; computer set 

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• Little: Azimuth 

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This work was written to accompany a short visual clip from the original cartoon of the same name.

• Audain: Felix the Cat: The Magic Bag; computer-set 

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• Audain: Felix the Cat: The Magic Bag; computer-set 

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• Audain: Felix the Cat: The Magic Bag; computer-set 

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This piece uses the image of a bird lost in a city, frantically trying to find a way out of the concrete that has engulfed its natural habitat. It is a political statement about the way that New Zealand is becoming this concrete jungle: individual greed and a lack of long term vision allow high intensity farming practices to destroy our rivers, and transitory councils allow increasing urban expansion to eat away at more and more of our natural land.

Flight was originally for solo flute and has been adapted by the composer especially for Anna McGregor; it is one of a number of his works that she has premiered. Although some of the lightness of the flute version is lost, the clarity and edge of the Eb Clarinet sound intensifies the frenetic elements of the piece.

• Adams: Flight - Lost in an urban(e) jungle; computer-set 

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• Adams: Flight - Lost in an urban(e) jungle; computer-set 

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• Chris Adams: Flight: Lost in an urban(e) jungle; audio 

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• Chris Adams: Flight: Lost in an urban(e) jungle 

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The first movement is characterized by strong accents and motor rhythms. A wedged-shape opening theme is contrasted with a darker, smoother second theme. The movement has traces of sonata form though the structure is treated with freedom. A mysterious middle section builds to a climax, leading to a highly truncated and varied recapitulation.

In the second movement a florid flute melody contrasts with a heavy chordal motif on the piano. The somber mood is lightened a little by a higher pitched second idea that, nonetheless, has a rather sinister character. Towards the end, the flute part becomes freer in rhythm, like a small cadenza, and anticipates ideas in the third movement.


This final movement is connected to the second without a break, and is dance-like in mood. A quirky opening theme builds to a more robust second idea. As these ideas are developed a waltz-like section appears on the piano, contrasted with a more lyrical theme on flute. A reversed recapitulation of themes leads to a quicker coda, and the work ends with a flourish.

• Ritchie, A.: Flute Sonata; computer-set 

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• Ritchie: Flute Sonata; computer-set 

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• Ritchie, A.: Flute Sonata; computer-set 

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• Jonathan Besser and Andrew Pask: Griffith Park  Year: 2005 

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A piece which combines contemporary classical music with Hip Hop/ Poetry.

• Crehan: Honesty; computer-set 

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• NZ Premieres 2008 Vol. 1 

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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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‘Invitation to the Dance, my dear?’ – Carl Maria von Weber (1786 – 1826) is extending you his hand.

This is an affectionate tribute to this man’s music, in particular his clarinet music, upon which I was focusing as a performer at the time.

Weber was informally accorded the nickname ‘Kreutsalat’ – apparently it translates into English as something like ‘cabbage salad’.

• Audain: Kreutsalat; computer set 

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• Audain: Kreutsalat; computer set 

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