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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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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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Gallipoli was composed in memory of the World War I battle that took place between Turkey and Anzacs, symbolizing as a whole, the mutual good relations of the countries of Turkey, Australia and New Zealand, which are in friendly relations in our day. The message given by Turkey’s leader Ataturk after the war was one of humanism and friendship. This is still commemorated by both the ANZACs and the Turks with great importance every year.

The idea of writing this solo work for trumpet was born when Erden Bilgen met the composer in Auckland. It became formalized with the composer’s visit to Gallipoli in 2001 and a subsequent meeting between the two in Istanbul. Written in rhapsodic form in one movement, the music is not intended to interpret the horrors and negative aspects of war, but more the emotions and reflective times of the young ANZAC (Australian and New Zealand Army Corp.) and Turkish troops summoned to war on Turkish ground.

The opening trumpet fanfare is the call to war. In the middle section the composer uses a traditional folk theme from the Turkish region of Canakkale. There is a short cadenza and this version is for wind orchestra, originally full symphony orchestra.

• Daverne: Gallipoli; computer-set 

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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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This stylised, visceral ‘take’ on some of the composer’s favourite Len Lye texts achieves a heightened expression to match the whimsy and wackiness of his wonderful words.

Notes taken from Ritual Auras, Atoll CD (ACD 842)

• Eve de Castro-Robinson: Knife Apple Sheer Brush; audio 

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• New Zealand Music for Woodwind 

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• Ritual Auras - Karlheinz Company  Year: 2011 

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This piece for solo flute, partly inspired by the tui-song at Ngaio Bay, Nelson, was composed for the marriage ceremony there of Louise Fisher and Richi Walsh on 10 February 2007. On that occasion the piece was played by Joel Boulton.

• Fisher: Rhapsody; computer-set 

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• Fisher: Rhapsody; computer set 

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In the spirit of recycling, Timepiece uses music of the past in new ways. The three-note motif that pervades the work is a transcription of a bellbird song (previously used in my piece Bush Telegraph). I also quote from Mahler, The Beatles, and a famous clock tune.

Timepiece is a clarinet quartet, composed for The Committee’s ‘Clock Works’ concert in Auckland University’s Clocktower. In a minimalistic style, it includes hocketing, spatial effects, birdsong, and musical quotation.

• Willis: Timepiece; computer-set 

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• Willis: Timepiece; computer-set 

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• Willis: Timepiece; computer-set 

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• Willis: Timepiece; computer-set 

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Tui is based on calls from birds, recorded in Dunedin in 2003 by University student Vicki Payne. The composer helped to transcribe some calls, and was inspired to draw on these when Bridget Douglas commissioned him to write a short piece. The work uses a variety of special effects, influenced to some degree by the Tui. It has a quirky character with rapid ideas juxtaposed with moments of silence. Douglas premiered the work during a New Zealand tour in 2004, and recorded it for Trust Records late in that year.

• Ritchie A.: Tui; Computer Set 

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• Ritchie A: Tui; computer-set 

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

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This piece was inspired by the calls of two tui – one who started visiting the banksia tree in my garden in about August 2005, and another who hangs out near the NZ School of Music at Victoria University in Wellington. I have enjoyed some good banter with both of these birds, each of which has its own unique, consistent song, which varies subtly on occasion.

• Becker: Two Tui; facsimile 

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