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(1)2221; 2211; perc (ratchet, maraca, snare drum, tamtam, ref's whistle, woodblocks), timp, tape

“…imaginary ride on a cloud from the Tararuas, over to Levin, across to Kapiti Island, over Kapiti and back to Wellington…”

• Schulz: Dolphin Overture of Land and Sea; facsimile  

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• Schulz: Dolphin Overture of Land and Sea; facsimile 

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2*2*2*1, alto saxophone, 2220, 3 perc., 8 solo strings: 3221

The music draws on images of the natural environment, and in particular New Zealand’s coastal landscape. One might imagine the sounds of wind and water, and birdsong, and the dim outlines of rugged coastlines and bush-covered hills. These shadows come in and out of focus, against the backdrop of the work’s technical explorations. Formally, there is an emphasis organisation at the sonic level, and particularly the way in which accumulations of timbres, densities and textures change over time. Each player is a soloist, while at the same time ever-changing instrumental groupings fuse into composite sound-masses. There is a constant tension between these shifting masses and the virtuosic individual lines which scatter around them.

• Brownlee: Landforms; facsimile 

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• Brownlee: Landforms; facsimile 

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2 alto voices/kazoos, clarinet, bass clarinet, tenor sax, baritone sax, trumpet, cornet, sousaphone, trombone, electric guitar, banjo, piano accordion, double bass, drum kit

The march of the crocodiles refers to the ongoing silliness caused by bureaucratic systems and how we all play our part in them.

We play a little tune, (this might be in the form of a phone call or a letter, a question, a request) the receiver does a little dance, a message gets passed along, someone else plays a tune, the next person does a little dance etc….until eventually a little tune comes back for us to do a little dance to.

I am fascinated by the amount of paperwork, human resources and time that can be involved in even the smallest and simplest of enquiries, not to mention the tedium. This silly game is so dreary it’s almost amusing!

The piece is played tutti then the ensemble divides into three groups and uses material from the composition to improvise. Eventually the ensemble becomes a choir.

• Rosie Langabeer: March of the Crocodiles 

  Digital sound file - MP3
  

• Zirkus! – Sirius Music 

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2 alto voices, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, trumpet, 2 trombones, sousaphone, electric guitar, banjo, piano, piano accordion, cello, double bass and drum kit

Milly Mae-Moet is dressed up like a picture, anticipating the carnival today, with carousels and horses, hot air balloons. Ribbons in her hair and petticoat of crinoline, dance in the wind. Mother Mae-Moet buys candy-floss and toffee, pretty balloons for her, darling Milly Mae grows stubborn and persistent, wants more balloons. She has dreams of flying, never gives up trying for one more balloon. Milly Mae-Moet is willful and unyielding she gets her way, one more balloon, to take her away. Happily flying away too high to save…

This piece tells the story of Milly Mae-Moet, the stubborn yet admirably driven girl who convinces her mother to buy her all the balloons at the carnival so she my fulfill her dream of flying. She happily ascends (much to her mothers distress) through the insect layer into the bird layer and eventually into infinity.

The piece is a combination of scored sections and work-shopped improvisations that were developed with the ensemble in December 2007.

• Rosie Langabeer: Milly Mae-Moet 

  Digital sound file - MP3
  

• Zirkus! – Sirius Music 

  CD
  
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narrator, piano, trumpet, cornet, 2 clarinets, soprano saxophone, alto saxophone, tenor saxophone, bass trombone, tuba

• Freed: Sounds and Winds of Wellington; facsimile 

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• Freed: Sounds and Winds of Wellington; facsimile 

  Vocal score | Hardcopy - facsimile
  
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