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Bush Idyll, Frederick McCubbin (1893)

Australian Compositions for Recorder

Compiled by Nicholas S. Lander

Introduction | Index of Composers | References | Acknowledgements

Introduction

The catalogue presented below began life as a response to an email enquiry from a French recorder player/teacher seeking information about Australian repertoire for his instrument. On reviewing the available suveys -- Strong (1980), Tattersall (1984), Shanahan (1985), Tattersall (1987), Baxt (1990) and Tokimitsu (1996) -- it seemed to me that there was a great deal we still don't know about the matter. I resolved to do something about it.

If to date some half-dozen surveys of music for recorder by Australian composers have been published, do we really need yet another?

A first step has been an exploratory trawl using readily available library and internet resources as well as the contents of my own library. To date I have consulted the on-line library catalogue of the Australian Music Centre (AMC), the State Libraries of South Australia and Western Australia, the Universities of Queensland, Sydney, Wollongong & Western Australia, Monash University, Australian National University, and, of course, the invaluable reference works cited below. To these I have added a few items from my own music collection, old programmes and my memory, such as it is. The list presented here is rather more comprehensive than what has come before: It includes some 500 items.

For each item in this catalogue I have adopted as a de facto standard something like the data structure of the AMC's on-line library catalogue. The numbered entries are as follows:

  1. Title. / Author. - year of composition.
  2. City: Publisher & Catalogue Number.
  3. Format (number of pages); dimensions.
  4. Instrumentation.
  5. Duration.
  6. Notes, including reviews.

In some cases I have appended a brief note.

For instruments of the recorder family the usual abbreviations for the different sizes of instrument are applied, namely:

There is a discouraging consequence of this systematic categorisation. The sad fact is that even a brief perusal of the catalogue is enough to convince the reader that for much of this repertoire (small as it is) we lack essential details, amongst them knowledge of the publisher, date, or library where a particular score can be consulted. And too often the reader has to guess the nature of the work, its length or its intended audience, and so on.

I have opted for inclusion of all material I have encountered. In revisiting this topic so soon, it might be argued that we would do well to devise suitable criteria for inclusion and exclusion. This line of thought will lead us to ask ourselves questions such as the following:

Should we include only published works, and what does "published" mean? Does it include any manuscript lodged with the Australian Music Centre? Does it include any home-brewed composition recorded with a note-processor and published from home or on the Internet?

Do we restrict the list to items which have been recorded or broadcast or publicly performed? Do we exclude arrangements of existing compositions? Do we invoke some kind of "peer review"? Do we exclude pedagogical items?

What about items which have been recorded as improvisations? Are they compositions?

Come to that, what is an Australian? After all, we claim Hughes (born overseas but living here most of his life and writing music about Australia) and Benjamin and Grainger (indisputably Australian in style, but living overseas because they didn't like it here).

This list could easily be extended.

In my view such qualms are, in large measure, misplaced in a situation where despite so many surveys three items for recorders by Alfred Hill have hitherto been missed, and two of the most prolific Australian composers for the recorder have been either ignored (Mike Leadabrand whose Songs from the Deep alone amounts to some 150 pages of music) or seriously un-represented (Glyn Marillier who has published a score of compositions and many arrangements), one suspects because they live on the Western coast of the continent. And certainly one of the most interesting, another Western Australian (Diarmuid Pigott), has been omitted, perhaps because he is something of a recluse who publishes exclusively on the Internet. Similarly, works by WA's Robert Schulz and Margaret Quayle have hitherto gone un-noticed. This neglect, which includes a bias towards the confections of Australia's 'Far East', just won't do!

Surely a bibliographer in this context could do worse than simply eschew any "point of view" whatsoever. If the net is cast sufficiently widely we are less likely to leave anything out. Those who use a bibliography are best able to decide which references they wish to keep in contention, given a particular task. If the bibliographer is too selective this will effectively deny readers any such choice. That much seems obvious enough.

Thus I have included all items which concern Australia or Australians or Australiana. Amongst them, I have listed a piece from the American Music Centre Library entitled The Woylies at Home by David Cleary (1986) on the basis that Woylies (a sort of Bandicoot) are distinctly Australian creatures, and Cleary may well be an expatriate Australian. Similarly, I have included John Tavener's Let's Begin Again, which, though from the pen of a noted British composer, was jointly commisioned by the Festival of Perth. There are Anthony Gilbert's Igórochiki, Paluma, Flame-Robin which draw on Australian bird-song for their thematic material, and his Chant of Cockeye Bob which was written for primary schools in Bendigo, Victoria. And I have included two works by Canadian composers (Neil Currie and Jana Skarecky) which were premiered in Australia by an Australian player (Ian Shanahan).

In my view, the critical thing now is to fill in the details of what we already know rather than worry unduly about what work is and isn't going to be of interest to our readers.

For my part I undertake to trawl shoals further from home by including the results of searches of the remaining State, College, Conservatorium and University Libraries whose catalogues are available to me over the Internet.

Readers (perhaps even the composers themselves) may wish to copy the following list to their hard disc, annotate it with the missing details where they know them and email it to me. All contributions will be duly acknowledged. I see this as very much a joint effort and myself as merely the compiler.

This presentation is far from the last word; indeed, it is but a new begining. Hopefully, unlike its predecessors, this approach will lead in time to a dynamic, self-correcting and authoritative document.

In this context, mention must be made of Walter van Hauwe's on-line Catalogue of Contemporary Blokflute Music available at the Stichtung Blokfluit site launched in July 1998. This ambitious project aims to compile a comprehensive information base of 20th-century recorder music with data logged in some 40 fields and will clearly become the principal repository for data in this arena. To date, although a total of some 3,650 items have been catalogued, as yet only some 85% of Australian compositions have been logged. On a world-wide scale the scope is enormous.

Index of Composers

Catalogue

Abbott, Harold (? dates)

Reference: Evans (1962).
  1. [A song cycle: title unknown]. / Harold Abbott. - 1961.
  2.  
  3.  
  4. 3 voices + 2 recorders + guitar.
  5.  
  6.  

Adams, Cavin

  1. Cappuccino Break. / Cavin Adams. - ? date.
  2. Orpheus Music YCS 008 (ca 2000)
  3. 1 score (4 p.) + 1 part ([1] p.)
  4. tenor recorder & piano
  5.  
  6. Reviewed by Paul Clark, Recorder Magazine 21(4): 145-146 (2000).

Ahearn, Michael (1962-)

  1. Elegy. / Michael Ahearn. - 1981.
  2.  
  3.  
  4. SATT recorders
  5.  
  6.  
  1. Amicizia. / Michael Ahearn. - 1984
  2. Australian Music Centre
  3. 1 facsimile score (3 p.); 42 cm.
  4. Alto recorder.
  5.  
  6.  

Aked, Lindsay (1930-)

  1. Suite. / Lindsay Aked. - 1956.
  2. Sydney: Albert & Son 62 (1966).
  3. 1 score (15p.)
  4. SAAT recorders
  5.  
  6.  
  1. Suite 2: 1. Ouverture, 2. Passepied, 3. Gavotte, 4. Rondeau. / Lindsay Aked. - ? 1996.
  2. Belrose: Oberg Publications (1996)
  3. 1 score (23 p.); 30 cm
  4. AATB recorders
  5. 12:00
  6.  
  1. Swingtime 1: Blues and Beguine / Lindsay Aked. - ca 1968
  2. Sydney: Albert & Son (1968)
  3. 1 score (5 p.); 28 cm + 4 parts
  4. Recorder or flute or violin, glockenspiel or clarinet or trumpet, percussion, piano
  5.  
  6.  
  1. Swingtime 2: calypso mood / Lindsay Aked. - 1969
  2. Sydney: Albert & Son, c1969.
  3. 1 score (7 p.); 28 cm. + 4 parts.
  4. Recorders, violin or flute, trumpet or clarinet, percussion, piano.
  5.  
  6.  
  1. Swingtime 3: fox-trot / Lindsay Aked. - 1969
  2. Sydney: Albert & Son, c1969.
  3. 1 score (4 p.); 28 cm. + 4 parts.
  4. Recorders, glockenspiel or clarinet, percussion, piano.
  5.  
  6.  
  1. Beware! Mymecia gulosa!. /Lindsay Aked. - 1969.
  2. Sydney: Chappell & Co., Ltd.
  3. Score.
  4. SS recorders + percussion (triange & drum).
  5.  
  6. Mymerica domestica is the so-called Argentine Ant, a terrible introduced pest in the Eastern States of Australia – Nicholas Lander.
  1. Two Moods for Recorder Ensemble / Lindsay Aked. - 1980.
  2. West (NSW Government Printer), Sydney
  3.  
  4. SAT recorders + percussion
  5.  
  6.  
  1. Les Jongleurs / Lindsay Aked. - 1974.
  2. Sydney: Albert & Son.
  3.  
  4. recorders
  5.  
  6.  
  1. Divertimento / Lindsay Aked. - 1974.
  2. Sydney: Albert & Son, 1974
  3. Score + part.
  4. S recorder + piano.
  5.  
  6.  
  1. Divertimento / Lindsay Aked. - 1993.
  2. Belrose: Oberg Publications, 1995
  3. Score + part.
  4. Alto recorder + keyboard (acoustic or elecronic).
  5.  
  6. Prelude, Pastorale, Song Without Words, Rondeau.
    Dedicated to Howard & Helen Oberg.
  1. Suite for Courtney / Lindsay Aked. - 1993.
  2. Belrose: Oberg Publications, 1995
  3. Score + part.
  4. Alto recorder + keyboard (acoustic or elecronic).
  5.  
  6. Bathtime Bop, Bathtime Rhumba, See the Rabbit, See the Clouds, Bassinet Dance, Lullaby for Courtney. Short pieces representing a day in the life of Courtney Rose born 15.01.1993
  1. Divertimento No. 2 / Lindsay Aked. - 1995.
  2. Belrose: Oberg Publications, 1995
  3. Score + part.
  4. Soprano recorder + keyboard (acoustic or elecronic).
  5.  
  6. Prelude, Elegy, Alla Sarabanda, Reel. Dedicated to H.K.M.O.
  1. A Collection of Traditional Folk Songs / Lindsay Aked. - 1995.
  2. Belrose: Oberg publications, 1995
  3. Score + part.
  4. Soprano recorder (or flute) + piano.
  5. 14 min.
  6. Hey Robin, Jolly Robin; Three Ravens; Pastime with Good Company; The Agincourt Song; Donna, Donna; Zion Me wan Go Home; Jamaican Rumble; Russian Roulette. Dedicated to H.K.M.O.
  1. Song & Dance / Lindsay Aked. - ? date.
  2. ? unpublished
  3.  
  4. SAT recorders + optional piano, percussion & double bass
  5.  
  6.  
  1. Sonatine. / Lindsay Aked. - 1997.
  2. Belrose: Oberg Publications HEO 1004 (1998).
  3. 1 score (17 p.); 30 cm + 1 part (6 p.); 30 cm
  4. S recorder + piano
  5. 12:00
  6. Dedication: "For MAO"
  1. Sonatine. / Lindsay Aked. - ? 1998.
  2. Belrose: Oberg Publications HEO 1003 (1998).
  3. score + parts
  4. alto recorder + piano
  5. 12:00
  6. Dedication: "For MAO"

Allen, Geoffrey (1927-)

  1. Duo Sonata. / Geoffrey Allen. - 1958.
  2. Perth: The Keys Press.
  3. 2 parts, 14 pages each, in folder.
  4. AA recorders or 2 woodwinds.
  5.  
  6. See Hauwe (1998).
  1. Currawong Suite. / Geoffrey Allen. - 1958.
  2. Perth: The Keys Press
  3. Miniature score, 14 pages + parts.
  4. AAT recorders.
  5.  
    6. See Hauwe (1998).
  1. Divertissement. / Geoffrey Allen. - 1999.
  2. Perth: The Keys Press
  3. score (32 pp.) + parts.
  4. SATB recorders.
  5.  
  1. Bassementos. / Geoffrey Allen. - 2000.
  2. Perth: The Keys Press KP 0165 (2002)
  3. 1 score (14 p.); 30 cm
  4. Solo A or B recorder.
  5.  
  6. Reviewed by Jean McCreery, Recorder Magazine 22 (3): 108 (2002).
  1. Peter Piper's Pickings. / Geoffrey Allen. - 2002.
  2. Perth: The Keys Press KP 0164 (2002).
  3. part.
  4. Solo alto recorder.
  5.  
  6. "For Barnaby Ralph". Reviewed by Louise Philips, Recorder Magazine 22 (3): 108 (2002).

Allworth, Robert (1943-)

  1. How Many Sunsets Will I See? / Robert Allworth. - 1987.
  2. Evasound Records & Tapes Pty Ltd, JADCD 1012; Armidale: Orpheus Music OMP 085 (2002).
  3. score (2 p.)+ mandolin part (1 p.)
  4. A recorder + mandolin
  5.  
  6. Reviewed in American Recorder 44 (2): 30 (2003).
  1. The Ascension. / Robert Allworth. - 1983.
  2.  
  3.  
  4. SATB recorders.
  5.  
  6. Released on CD Music for a Champagne Breakfast (Jade JAD CD 1075).
  1. Concerto for Susan Jones. / Robert Allworth. - (? 2001).
  2. National Library of Australia (photocopy)
  3. 1 score (31 leaves); 42 cm.
  4. A recorder + mandolin
  5.  
  6. Reviewed in American Reocrder 44 (2): 30 (2003).

Anderson, Olive (1917-1995)

  1. The Blue Slippers. / Olive Anderson. - 1950.
  2.  
  3.  
  4. recorder + piano + childrens choir.
  5.  
  6.  
  1. This old man. / Olive Anderson. - 1971.
  2.  
  3.  
  4. SS recorders or flutes + oboe + percussion
  5.  
  6.  
  1. Elementary Chamber Music. / Olive Anderson. - 1975.
  2.  
  3.  
  4. S A recorders + piano or guitar.
  5.  
  6.  

Ashley, Karyn

  1. Spasmodic, a duet for four recorders. / Karyn Ashley.
  2. Armidale: Orpheus Music YCS 009.
  3. 2 scores
  4. SA and SA recorders (2 players).
  5.  
  6. Reviewed by Jean McCreery, Recorder Magazine 21a(4): 153 (2001).

Atherton, Michael

  1. Sir Walter Ralegh. / Michael Atherton. - 1977.
  2.  
  3.  
  4. recorder or flute + percussion.
  5.  
  6.  
  1. I can make music. / Michael Atherton. - 1982.
  2.  
  3.  
  4. SA recorders + percussion.
  5.  
  6.  
  1. Passages / Michael Atherton. - 1985.
  2.  
  3. 1 facsimile score (16 p.); 37 cm.
  4. Voices, S recorders, didjeridu, slide guitar, violin, 6 hole folk flute, violin, spanish guitars, bouzouki, bagpipe in G, thumb piano, percussion.
  5.  
  6.  
  1. Radum scadum: a selection, composer's autograph / Michael Atherton. - 1989
  2.  
  3. 1 facsimile score (20 p.); 30 cm.
  4. Voice, accordion, guitar, recorder, percussion.
  5.  
  6.  
  1. Three Fipples. / Michael Atherton. - 1991.
  2. Sydney: Currency Press (Thorn 1991).
  3.  
  4. SSS recorders.
  5.  
  6.  
  1. Paidushka. / Michael Atherton. - ? date.
  2.  
  3.  
  4. SAA recorders.
  5.  
  6.  
  1. Lilting. / Michael Atherton. - ? date.
  2.  
  3.  
  4. SAB recorders.
  5.  
  6.  

Bainbridge, Beryl (1919-)

  1. Little Suite Five. / Beryl Bainbridge. - 1969.
  2.  
  3.  
  4. 3 recorders + oboe + harpsichord.
  5.  
  6.  

Amanda Baker

  1. Phoenix Songs. / Amanda Baker. - 19??.
  2.  
  3.  
  4. sSATB recorders (one player) + piano.
  5.  
  6. Released on CD Phoenix Songs (Move MD 3165)

Bandt, Ros (1951-)

  1. Meditation. / Ros Bandt. - 1976.
  2. Currency Press: Sydney (Thorn (1995).
  3. 1 facsimile score ([2] p.); 37 cm.
  4. Alto recorder, flute or shakuhatchi.
  5. ca 2 min.
  6.  
  1. Flight. / Ros Bandt. - 1978.
  2. Sydney: Currency Press (Thorn 1995).
  3. 1 facsimile score (2 p.); 36 cm.
  4. Alto recorder.
  5. 4 mins.
  6.  
  1. Drifts in sand. / Ros Bandt. - 1977.
  2. Australian Music Centre
  3. 1 facsimile score (2 p.); 37 cm.
  4. Alto recorder, flute, bass recorder or shakuhachi.
  5. ca 3 min.
  6.  
  1. Five + Four. / Ros Bandt. - 1978.
  2.  
  3. Recorder ensemble.
  4. 10-12 min.
  5. See Hauwe (1998).
  1. Disjointed Quartet (music-theatre piece). Ros Bandt. - 1979.
  2.  
  3.  
  4. recorder.
  5. 10-12 min.
  6. Improvised Graphic Score that sends up the structure of a Mozart String Quartet. Released on CD ROM Creating Ensemble (UWS)
  1. Loops. / Ros Bandt. - 1983,
  2. Sydney: Australian Music Centre 788.36/BAN 1
  3. 1 facsimile score ([iv], 16 p.); 30 cm
  4. 4-channel tape, interactive quad playback + live performer on SATB recorders + voice
  5. 15 min.
  6.  
  1. Sub Terra. / Ros Bandt. - 1984.
  2.  
  3.  
  4. Renaissance T recorder.
  5. 13'20".
  6. See Hauwe (1998). Performed at The Call of the Four Winds Festival, Armidale (NSW), 21 January 2000, on renaissance bass recorder and tape.
  1. Ode after Catullus no. 5: to the unknown lover. / Ros Bandt. 1990.
  2. AMCOZ 783.2542/BAN 2
  3. 1 facsimile score (3 p., 2 folded p.), 30 cm
  4. recorder, narrator.
  5.  
  6.  
  1. Variazione Zefferelli . / Ros Bandt. - 1991.
  2.  
  3.  
  4. Recorder + voice (simultaneously).
  5.  
  6. See Hauwe (1998).
  1. The Lion and the Tram. / Ros Bandt. - 1997.
  2.  
  3.  
  4. Bass recorder + environmental recording.
  5. 7 mins.
  6. See Hauwe (1998).
  1. Subterranean Sue. / Ros Bandt. ? date.
  2.  
  3.  
  4. Tape (based on T recorder improvisations).
  5.  
  6.  
  1. After Meditation. / Ros Bandt. - ? date.
  2.  
  3. 1 facsimile score ([2] p.); 37 cm.
  4. Alto recorder.
  5. 4'40"
  6. See Hauwe (1998).
  1. Disjointed Polyphony. / Ros Bandt. - ? date.
  2.  
  3.  
  4. 2 recorders.
  5. 3 min.
  6. See Hauwe (1998).
  1. Dog. / Ros Bandt. - ? date.
  2.  
  3.  
  4. Bass recorder.
  5. 4'47"
  6. See Hauwe (1998).
  1. Sonic Loops. / Ros Bandt. - ? date.
  2.  
  3.  
  4. 8 channel DAT, composed on computer
  5. 15 min.
  6. See Hauwe (1998).
  1. Spring Flutes. / Ros Bandt. - ? date.
  2.  
  3.  
  4. SA recorders + voice.
  5. 2'40".
  6. See Hauwe (1998).
  1. Sweet Germinal Wheat. / Ros Bandt. - ? date.
  2.  
  3.  
  4. Recorder + lute.
  5.  
  6. See Hauwe (1998).
  1. Tank Piece No. 9. / Ros Bandt. - ? date.
  2.  
  3.  
  4. Renaissance S recorder.
  5. 3'54".
  6. See Hauwe (1998).

Banks, Don (1923-1980)

  1. Walkabout. / Don Banks. - 1972.
  2. [Sydney?]: Schott.
  3. 1 score (10 p.); 24 cm.
  4. Recorders or flutes + piano or guitars + cello + percussion + childrens choir.
  5.  
  6.  

Michael Barkl

  1. Red. /Michael Barkl. - 1996.
  2. Sydney: AMC Library number: 788.364 BAR 1
  3. 1 facsimile score [(i, 3] p); 30 cm
  4. S recorder.
  5. 4:10
  6. Dedication: "For Ian Shanahan".

Beath, Betty

  1. The Raja who married an angel. / by Betty Beath and David Cox. - 1978.
  2. Brisbane: Playlab Press, 1979.
  3. 1 score (34 p.); 30 cm.
  4. Voices, flutes, percussion, recorders.
  5.  
  6.  
  1. Night Songs. / by Betty Beath.
  2. Perth: The Keys Press (2000).
  3. 1 facsimile score (2 p.); 30 cm.
  4. solo recorder.
  5. 3:30
  6. Reviewed by Paul Clark, Recorder Magazine 21(4): 150 (2000). Dedication: "For Barnaby Ralph. Recorded by Barnaby Ralph, and released on Jade CD 1090.
  1. Meditation. / by Betty Beath (2001).
  2. SibeliusMusic; Sydney: Australian Music Centre 788.366/BEA 1
  3. score (in Sibelius format(
  4. solo tenor recorder.
  5. 4:30
  6. Commissioned by Australian recorder player Barnaby Ralph.
  1. Heart Song. / by Betty Beath (2001).
  2. SibeliusMusic
  3. score (in Sibelius format)
  4. soprano voice, bass recorder, cello.
  5. 4 minutes
  6. Commissioned by Australian soprano Susan Dunn.
  1. Let's Dance: an encounter for recorder and guitar. / by Betty Beath (2001).
  2. 1 score ([4] p.); 30 cm.
  3. Highgate Hill: Beath-Cox Art Enterprises (2005).
  4. T recorder + guitar.
  5. 4 minutes
  6. Dedication "For Barnaby and Leo".
  1. Procession: [a march of celebration ... the march of the bunyip]. / by Betty Beath (2001).
  2. 1 facsimile score (7 p.) ; 30 cm. yc 1983
  3. Highgate Hill: Beath-Cox Art Enterprises (2005).
  4. T recorder + guitar.
  5. 4 minutes
  6. Dedication "For Barnaby and Leo". Work for children "'Procession' begins with a fanfare for voices and instruments which may include: whistling and whistles, combs with paper, mouth organs, recorder, bamboo flutes, conch shells and gum leafs (sic.), tambourine, maracas, finger cymbals, triangles, gongs, chimes, rhythm sticks, spoons, shakers of pebbles and rice. The most important instrument is the voice used in chant."

Kirsty Beilharz (op. 1991)

  1. Gecko on desert sand . / by Kirsty Beilharz.
  2. Koln : P.J. Tonger 2624 (ca 1995).
  3. score ([3] p.); 30 cm
  4. TB recorders (1 player), Japanese rin (percussion instrument).
  5. 5 min.
  6. Dedication: "For Eric Gross".

Benjamin, Arthur L. (1893-1960)

  1. Jamaican Rumba. / Arthur Benjamin/arr. Garnaway.
  2. Fentone
  3. Score.
  4. SAT recorders.
  5.  
  6.  

Peter J. Billam (1948-)

  1. To Erich Jantsch. / Peter J. Billam - 1988
  2. Hobart: PJB Compositions (1998)
  3.  
  4. recorders SAATTB.
  5.  
  6.  
  1. Two Recorder Duets / Peter J. Billam - 1991
  2. Hobart: PJB Compositions (1998)
  3.  
  4. recorders SAATTB.
  5.  
  6.  
  1. Four Dances. / Peter J. Billam - 1995
  2. Hobart: PJB Compositions (1998)
  3.  
  4. recorders SATB.
  5.  
  6.  

Blake, Ian (?)

  1. Big Bird. / Ian Blake. ?date.
  2.  
  3.  
  4.  
  5.  
  6. Performed at The Call of the Four Winds Festival, Armidale (NSW), 21 January 2000.

Blom, Diana

  1. Nove Moderno. / Diana Blom.
  2. Armidale: Orpheus Music, OMP 101 (2003).
  3. score + parts
  4. SATB recorder quartet + optional percussion (drum, tambourine).
  5.  
  6. Reviews by Patrick Richmond, Recorder Magazine 23(2): 53 (2003); Charles Gamble, American Recorder 45: 38 (2004).
  1. Bebopaloobopawapbamboom. / Diana Blom.
  2. Armidale: Orpheus Music, OMP 098 (2003).
  3. score + parts
  4. SATB recorder quartet.
  5.  
  6.  
Review by Gwylim Beechy, Recorder Magazine 23(3): 88 (2003).
  1. Journeying. / Diana Blom.
  2. Armidale: Orpheus Music (2007).
  3. score + parts
  4. A/T T B/Sop. recorders.
  5.  
  6.  

Boyd, Anne (1946-)

  1. The Creation. / Anne Boyd. - 1965.
  2.  
  3.  
  4. 5 recorders, percussion.
  5.  
  6.  
  1. Yuya. / Anne Boyd. - 2004.
  2.  
  3.  
  4. T recorder & string quartet.
  5.  
  6. Based on the Japanese Noh story of Yuya. See concert review by Sarah Tennant, Recorder Magazine 25(4): 131-132 (2005).

Bradley, Reg (1900-1985)

  1. Three Pieces. / Reg Bradley. - ? 1950's.
  2.  
  3.  
  4. ATB recorders.
  5.  
  6. Probably written in the 1950s when Reg Bradley met Euen MacLean, a keen recorder player and founding member of the Victorian Recorder Guild – Robin Bradley.

Bradley, Robin (1937 -)

  1. Prelude & Tarantella. / Robin Bradley. - 1997.
  2. Published here.
  3. MIDI file
  4. Alto recorder
  5.  
  6.  
  1. Lullaby & Three Dreams. / Robin Bradley. - 1995.
  2. Published here.
  3. MIDI file
  4. Soprano recorder + piano.
  5.  
  6.  
  1. Introduction & Passaglia for G Ganassi recorder. / Robin Bradley. - 1996.
  2. Published here.
  3. MIDI file
  4. G Ganassi recorder.
  5.  
  6.  
  1. Suite for Descant & Piano. / Robin Bradley. - 1995.
  2. Published here.
  3. MIDI file
  4. Soprano recorder + piano.
  5.  
  6.  
  1. Suite in Miniature for Descant, Oboe & Cello: Scherzo, Nocturne, Lament, Little Prelude & Fugue. / Robin Hunter. - 1996.
  2. Published here.
  3. MIDI file
  4. Soprano recorder + oboe + cello.
  5.  
  6. First public performance was a chamber concert in Woodend, Victoria in 1996, with an oboe playing the recorder part – Robin Bradley.
  1. Contrapuntal Dialogues for Double Bass and Recorder. / Robin Hunter. - 1999.
  2. Published here.
  3. MIDI file
  4. Soprano recorder + oboe + cello.
  5.  
  6.  

Bright, Colin (1949-)

  1. The Sinking of the Rainbow Warrior: an opera in one act (prelude & 6 scenes) for 6 singers & 6 musicians. / music by Colin Bright; libretto: Amanda Stewart. - 1994.
  2.  
  3. 1 score (219 p.); 26 x 37 cm.
  4. 2 sopranos, alto, tenor, baritone, bass baritone, recorder(s)/flute(s), clarinet(s)/saxophone(s), violin, double bass (bass guitar or keyboard as required), keyboard(s), percussion (bass drum, tenor drum, tam-tam, log drums, toms, big drums,snare drum, crash cymbal, metal bar, cow bell, sticks, gongs or samples).
  5. 60 min.
  6.  
  1. Let the Storm Break Loose. / Colin Bright -2003. date.
  2. Sound files available here
  3. Recording made at the Colbright Studio during December 2003, on a PC with Logic Audio, and edited and produced by Colin Bright.
  4. Recorded voices, sSATB recorder
  5. 9 mins
  6. An electroacoustic composition, featuring recorder player Ian Shanahan. All the 'voice' samples of politicians, refugees, and commentators are taken from the public domain - radio and television. The recorder was the chosen instrument of the Hitler Youth Movement. As well as being a world renowned chess problemist and a composer, Ian Shanahan is a Grandmaster of recorders. This piece utilises the full range of recorders from bass to sopranino. The recorder plays, at different times, the role of interjector and commentator - the outspoken voice of the protagonist, the fanciful swoop of a bird in a flight of freedom, and the mournful cry of the disenfranchised spirit. Quarter tones are used frequently creating fragmented speech-like utterances. They are also used chromatically to create seamless fluid runs at very high speed. Quarter tones, too, create a human voice-like quality in the slower 'wailing' section. Multiphonics - colourful discords created by unusual fingering techniques - are interwoven throughout the music - and have a particular function when used against descending inverted minor triads. Some passages are beyond the possible, involving up to four different recorders over several octaves with no time at all to change instruments. This is intentional, and I regard this music as an electronic studio piece - not able to be realised 'live' without much simplification. Part of the idea, also, is to take a very old instrument into the electronic age, where, I must say, I think it sits very comfortably.

Broadstock, Brenton (1952-)

  1. Laudes. / Brenton Broadstock. - 1981.
  2.  
  3.  
  4. SSAA recorders + percussion.
  5.  
  6.  
  1. Aureole 3. / Brenton Broadstock. - 1984.
  2. Copies available from Australia Music Centre.
  3. 1 facsimile score (7 p.); 30 cm.
  4. A recorder or oboe + harpsichord or piano.
  5.  
  6. Aureole 3 was commissioned for and premiered at Recorder '84 where it was premiered by John Martin and Ann Murphy (Broadstock 1985, Martin 1985). Released on CD Phoenix Songs (Move MD 3165).
  1. Quintet: Further Down the Emperor's Road. / Brenton Broadstock. - 1987.
  2.  
  3. facsimile score (17 p.); 30 x 40 cm.
  4. sSATB recorders.
  5. 12 min.
  6. Commissioned for and premiered at Recorder '87 -- John Martin (pers. comm.) Sequel to an earlier work for woodwind quartet titled Down the Emperor's Road.

Brumby, Colin (1933-)

  1. Doriana. / Colin Brumby. - 1966.
  2. Sydney: J. Albert & Son. 61
  3. 1 score (7 p.); 28 cm.
  4. SSA recorders.
  5.  
  6.  
  1. A Windy beach. / music by Colin Brumby; poem by Tom Shapcott. - ca 1970
  2. Sydney: J. Albert & Son.
  3. 1 score (6 p.); 23 cm.
  4. 3 groups of speakers, 3 solo singers (or groups of singers), recorders, piano duet (4 hands), percussion.
  5.  
  6.  
  1. Four Simple Duos. / Colin Brumby. - ca 1976.
  2. Sydney: J. Albert & Son.
  3. 1 score (3 p.); 27 cm.
  4. SS recorders.
  5.  
  6.  
  1. Mediaeval Songs / [arranged by] Colin Brumby. - ? date.
  2. Sydney: Australian Music Centre Q 782.5542/BRU 1
  3. 1 facsimile score (14 p.); 42 cm.
  4. Voices, recorder, guitar, organ; voices, violin, percussion; voices, organ, cello; men's voices, violin, cello, rhythm sticks; women's voices, recorder, chime bars, guitar; men's voices, crow-bar (susp.); women's voices, tambourine; voices, recorder, violin, guitar, cello, drum.
  5.  
  6. De moi dolereu, A l'entrada, Bone est la dolours, Man mei longe, Worldes blis ne last, Jesu Christes milde moder, Edi beo thu hevene quene, Deo gracias Anglia
  1. Three pastorales: All day I have slept at the river; I hear the wild sound of flutes at night; Upon the tired road. / Colin Brumby. - ca 1976.
  2. Sydney: Australian Music Centre, 783.4542/BRU 8
  3. 1 facsimile score (11 p.); 30 cm. + 1 part (4 p.); 30 cm
  4. medium voice, flute/recorder, piano/harp.
  5. 5:00
  6. Lyrics by Larry Sitsky

Butterley, Nigel (1935-)

  1. The White-throated warbler. / Nigel Butterley. - 1964.
  2. Sydney: J.Albert & Son (1965); Armidale: Orpheus Music OMP 059 (2001)
  3. 1 score (2 p.); 28 cm. + 1 part (1 p.).
  4. s or A recorder (or flute or piccolo), harpsichord (or piano).
  5. 3 min.
  6. This quasi-serialistic work was premiered by UK recorder player Carl Dolmetsch and harpsichordist Joseph Saxby at the New South Wales Conservatorium of Music, Sydney on 27 February 1965.

    Reviews by Adam J. Dopadlik, Recorder Magazine 21a(4): 149 (2001); American Recorder 44 (2): 31-32 (2003).
  1. In the Head the Fire / Nigel Butterley. - 1966.
  2.  
  3. 1 facsimile score (91 p.); 42 cm.
  4. Tenor, baritone, male speaker, SATB choir, organ (doubling portative organ), piano, 2 piccolos (1 doubling flute), SATB recorders, 2 clarinets (1 doubling bass clarinet), 2 oboes (1 doubling cor anglais), 2 bassoons (1 doubling contrabassoon), 3 trumpets, 2 horns, 2 trombones, bass trombone, timpani, percussion, reverberation.
  5. 29 min.
  6.  
  1. Music for Sunrise / Nigel Butterley. - 1967.
  2. Sydney: J. Albert & Son, ca 1969. Orpheus Music OMP115.
  3. 1 score ([6] p.); 28 cm.
  4. SSSAAATTT recorders + flute + percussion.
  5. 5 min.
  6.  
  1. Meditations on Thomas Traherne. / Nigel Butterley. - 1968.
  2.  
  3.  
  4. recorder ensemble + orchestra.
  5.  
  6.  
  1. Canticle of the Sun. / Nigel Butterley. - ? 1966.
  2. ?Sydney: J. Albert & Son.
  3.  
  4. 3 groups of instruments, one of which is recorders.
  5.  
  6.  
  1. Four Pieces for Recorder Trio. / Nigel Butterley. - ?date.
  2. Armidale: Orpheus Music OMP117
  3.  
  4. AAT recorders.
  5.  
  6.  

Cale, Bruce (1939-)

  1. Cullenbenbong / Bruce Cale. - 1989.
  2. Australia Music Centre
  3. 1 facsimile score (6, 12 p.); 36 cm.
  4. B recorder + temple bells.
  5. 12 min.
  6. Released on CD Best of Australian Classics Jade JAD CD 1065
  1. Breeze in the chimes of time, op. 71A / Bruce Cale. - 1991.
  2. Australia Music Centre (1999).
  3. 1 facsimile score (39 p.); 37 cm.
  4. Flute, oboe, Bb clarinet, bassoon, horn, T/B recorder, mandolin.
  5. 9 min.
  6.  
  1. Spirals-Tunnels, Music 5. / Bruce Cale. - 1992.
  2. Australia Music Centre
  3. 1 facsimile score (31 p.); 38 cm.
  4. Alto recorder (or any instrument capable of quarter-tone reproduction) + tape.
  5. 8:00
  6.  

Carr-Boyd, Ann (1938-)

  1. Folk songs '76 / arranged for Catch 76 by Ann Carr-Boyd. - 1976
  2.  
  3. 1 facsimile score (6, 7, 5, 1, 3, 10, 7 p.); 42 cm.
  4. S/A voice + recorder/flute + guitar + piano/harpsichord + violoncello +percussion.
  5. 14 min.
  6. Catch '76 were a chamber group active in Sydney in the mid-late 1970s which included Howard Oberg (recorder & flute), Amanda Thane (soprano), Greg Pikler (guitar), Marc Bonetti ('cello) and Robert Goode (harpsichord & cello). They had a baroque offshoot in the form of The Parnassus Ensemble, as I recall – N.S. Lander.]
  1. Travelling. / Ann Carr-Boyd. - 1981.
  2. Sydney: Australian Music Centre
  3. 1 facsimile score (8 p.); 35 cm.
  4. SAT + s (optional) recorders + percussion + piano + organ (or 2nd piano).
  5. 3 min.
  6.  
  1. Whitsunday moon / Ann Carr-Boyd. - 1987.
  2.  
  3. 1 facsimile score (5 p.); 30 cm.
  4. 2 recorders (or other woodwinds) + piano.
  5. 4 min.
  6.  

Paul Bruer

  1. Linear walk. / Paul Bruer. - ? date.
  2. Armidale: Orpheus Music OMP143 (2005).
  3. 1 score.
  4. ABB recorders
  5.  
  6.  

Barbara Carroll,

  1. Emanon no name. / Barbara Carroll. - 1973.
  2. Sydney: Albert & Son. 230
  3. 1 score (2 p.) + 28 cm. 2 parts.
  4. SA or AA recorders
  5.  
  6.  
  1. Mime. / Barbara Carroll. - 1973.
  2. Sydney: Albert & Son 231 (1973)
  3. 1 score (2 p.) + 1 part ([1] p.) ; 28 cm
  4. Alto recorder + piano.
  5.  
  6. For left hand only!

Charles, Simon (1982–

  1. Evocation / Simon Charles. - 2007.
  2.  
  3.  
  4. bass recorder + guitar + electro-acoustic playback
  5.  

Richard Charlton (1955–)

  1. Echoes of the Dunbar. / Richard Charlton. - 2006.
  2.  
  3.  
  4. recorder, guitar & video projection
  5.  
  6.  

David Chesworth

  1. Two Executioners - an Opera / David Chesworth. - 1994.
  2.  
  3. 1 facsimile score (66 p.); 21 x 30 cm.
  4. 2 sopranos, mezzo-soprano, 1 male voice, keyboards (1 player: Roland U20 keyboard synthesizer, sampler with keyboard), tenor saxophone/recorders/whistles (1 player), percussion (1 player), (also 2 actors - silent roles). All voices amplified.
  5.  
  6.  

Clarke, Zana (1965-)

  1. Fragment Longing and Solace for Ganassi./ Zana Clarke - 1996.
  2. Grevillea Editions; Armidale: Orpheus Music OMP 014.
  3.  
  4. Any recorder, but written with c fingering.
  5. 3 min. 35" & 2 min. 10"
  6. Recorded on 'Nardoo', Move Records CD 3188. Reviewed by Paul Clark, Recorder Magazine 19: 51 (1999).
  1. Cold Honey. / Zana Clarke - 1997.
  2. Grevillea Editions; Armidale: Orpheus Music OMP 001 (1998).
  3.  
  4. Voice flute (tenor recorder in d') or tenor recorder.
  5. 8 min.
  6.  
  1. Gentle Walker. / Zana Clarke - 1997.
  2. Grevillea Editions; Armidale: Orpheus Music OMP 006.
  3.  
  4. Solo performer: Voice flute (tenor recorder in d')/tenor recorder + voice.
  5. 8 min.
  6.  
  1. Behind My Right Shoulder. / Zana Clarke.
  2. Armidale: Orpheus Music OMP 001.
  3. 1 score (15 p.) ; 30 cm
  4. Solo performer: alto recorder/soprano recorder + voice.
  5.  
  6.  
  1. Shadow Dancer. / Zana Clarke.
  2. Armidale: Orpheus Music OMP 002
  3.  
  4. Alto recorder.
  5.  
  6.  
  1. Dawn and Dusk: A Recorder Songbook. / Zana Clarke.
  2. Armidale: Orpheus Music OMP 007 & 012.
  3. 2 volumes.
  4. Solo performer: soprano/alto recorder.
  5.  
  6. Collection of melodies for soprano and alto recorders (AMEB standard 3-5).
  1. Swamp. / Zana Clarke.
  2. Armidale: Orpheus Music OMP 015.
  3.  
  4. Solo performer: alto recorder + voice.
  5.  
  6.  
  1. Mind Your Step. / Zana Clarke.
  2. Armidale: Orpheus Music OMP 107.
  3.  
  4. Solo performer: alto recorder + voice.
  5.  
  6.  
Review by Peter Wells, Recorder Magazine 23(4): 128-129 (2003).
  1. Mind Your Step. / Zana Clarke.
  2. Armidale: Orpheus Music OMP 108.
  3.  
  4. AATB recorders.
  5.  
  6.  
Review by Peter Wells, Recorder Magazine 23(4): 128-129 (2003).
  1. A Fox Dance in the Mulberry. / Zana Clarke & Benjamin Thorn.
  2. Armidale: Orpheus Music OMP 036.
  3.  
  4. AATB recorders.
  5.  
  6. Three lively melodic pieces that are a lot of fun. The Fox: boisterous and rhythmic; The Mulberry Tree: serene and melodic; Sand Dance: a lively jig.
    Review by Paul Clark, Recorder Magazine 21(3): 106 (2000).
  1. Wild Strawberry Sweet. / Zana Clarke & Benjamin Thorn.
  2. Armidale: Orpheus Music OMP 037.
  3.  
  4. SATB recorders.
  5.  
  6. Two attractive melodic pieces. First movement alternates between 6/8 and 3/4 sections while second movement is in style of French overture.

    Review by Paul Clark, Recorder Magazine 21(3): 106 (2000).
  1. Tall Bamboo. / Zana Clarke & Benjamin Thorn.
  2. Armidale: Orpheus Music OMP 097 (2002)
  3. 1 score (7 p.) + 3 parts ; 30 cm
  4. SAT recorders.
  5.  
  6.  .
  1. Dancing in the Mustard Fields. / Zana Clarke & Benjamin Thorn.
  2. Armidale: Orpheus Music OMP 104.
  3. score + parts
  4. SATB recorders.
  5.  
  6.  .
Review by Jean McCreery, Recorder Magazine 23(4): 129 (2003).

Cleary, David (? date)

  1. The Woylies at home. / David Cleary. - 1986.
  2. American Music Centre, Classmark M457.2 C6234 W9
  3.  
  4. AATB recorders.
  5. 6 min.
  6. Since Woylies are distinctly Australian creatures I have included this. Perhaps David Cleary is an expatriate Australian.

Clingan, Judith (1945-)

  1. Ave, Alleluia: Sacred songs, mostly for treble voices / compiled & decorated by Judith Clingan. - 1990.
  2.  
  3. 1 v. of music (17 p.); 34 cm.
  4. Treble voices, recorder accompaniment on one song.
  5.  
  6.  
  1. Canticle of light, A / Judith Clingan. - 1976.
  2.  
  3. 1 facsimile score (20 p.); 36 cm.
  4. Children's choir (SSA), adult choir (SSAATTBB), treble soloist (child), soprano soloist (adult), string sextet, recorder quartet, percussion.
  5.  
  6.  
  1. Folk and fancy: Sundry Songs / compiled and decorated by Judith Clingan. - 1981.
  2.  
  3. 1 v. of music (21 p.); 34 cm.
  4. SSA choir, accompaniment varies, includes recorders, piano, flute, clarinet, violin.
  5.  
  6.  
  1. Kakadu. / music: Judith Clingan; words: Marian Clingan, adapted [by] Judith Clingan. -1990.
  2.  
  3. 1 facsimile score (62 p.); 30 cm.
  4. SAB voices, flute, recorders, didgeridoo, hammered dulcimer, violoncello, percussion.
  5.  
  6.  
  1. Mythical beasts: Four songs. / words & music by Judith Clingan. - 1992.
  2.  
  3. 1 facsimile score ([28] p.); 37 cm.
  4. Children's voices, percussion, piano and/or recorders + tuned & untuned percussion.
  5.  
  6.  
  1. Nganbra: a Canberra canticle. / music: Judith Clingan; libretto: Anthony Hill. - 1988
  2.  
  3. 1 facsimile score (122 p.); 37 cm.
  4. 3 SSA choirs, SATB choir, soprano voice, 2 baritones, flute, clarinet, bassoon, violoncello, ripieno student violoncelli, synthesizer, 3 percussion, didgeridoo, bass recorders.
  5.  
  6.  
  1. Peter Pandemonium: music theatre for primary children. / libretto and music, Judith Clingan. - 1985,
  2.  
  3. 1 facsimile score (3, 4, 9 p.); 30 cm.
  4. Unison children's voices, speakers, recorders, strings, percussion
  5.  
  6.  
  1. The Rime of the ancient mariner. / Judith Clingan. - 1985.
  2.  
  3. 1 facsimile score (33 p.); 30 cm.
  4. SAB voices, strings, prepared piano or hammered dulcimer, flute, recorders, percussion.
  5. 30 min. approx.
  6.  
  1. The Seven Deadly Sins. / by Judith Clingan. - 1990.
  2. Sydney: Currency Press (Thorn 1995).
  3. 1 facsimile score (9 p.); 30 cm. + 1 folded sheet of music (33 x 230 cm.).
  4. Multitudinous s-GB recorders (the more the better) + percussion.
  5. 8-10 min.
  6. Commissioned for and premiered at Recorder '90 (Clingan 1990).
  1. Marco : an opera for young people based on the travels of Marco Polo. / by Judith Clingan. - 1990.
  2. Sydney: Australian Music Centre 782.1088054/CLI 2
  3. 1 facsimile score (59 p.) ; 30 cm
  4. Voices, chorus, SA recorders, flute, oboe, clarinet, 2 trumpets, percussion (3 players), hammered dulcimer, guitar, strings
  5.  
  6. Funded by the Performing Arts Board Australia Council.
  1. Songs of Solitude. / words and music by Judith Clingan. - 1991.
  2. Sydney: Australian Music Centre, Q 783.66542/CLI 1
  3. 1 facsimile score ([36 p.]); 37 cm.
  4. soprano voice + flute + oboe/recorder + clarinet + bassoon/recorder + harp.
  5.  
  6.  
  1. Song of the children. / words and music by Judith Clingan. - 1989.
  2. Sydney: Australian Music Centre
  3. 1 score (6 p.); 30 cm
  4. soprano/s 1 & 2, ATB recorders, hammered dulcimer (or keyboard), guitar
  5.  
  6. Excerpt from Terra beata - terra infirma.
  1. What am I? / words and music by Judith Clingan. - 1997.
  2. Sydney: Australian Music Centre
  3. 1 facsimile score (3 p.); 30 cm
  4. woman's voice (or unison female voices), S recorder, hammered dulcimer, percussion (2 players)
  5. 1:40
  6.  
CoganM

cogan, Morva

  1. Carra barra wirra canna an Aboriginal lullaby . / arr. Morva Cogan (ca 1965).
  2. Sydney: Castle Music, Music of Australia
  3. 1 score ([3] p.); 25 cm.
  4. unison voices, A recorder + piano.
  5.  
  6.  

Cogan, Racheal

  1. Asiadeh and other Songs. / Racheal Cogan. - 2004.
  2. Armidale: Orpheus Music OMP 112.
  3. 8 p.; 30 cm.
  4. Alto recorder.
  5.  
  6.  
  1. For Fardin. / Racheal Cogan. - 2007.
  2. Armidale: Orpheus Music
  3. &nbasp;
  4. Alto recorder.
  5.  
  6.  

Coates, Bill (? dates)

  1. Two songs; Three pieces for recorder; Fourteen pieces for archiphone: in the temperament of 31 equal notes to the octave / Bill Coates. -- 1984.
  2. Sydney: AMC Library number: 786.7/COA 8 c.1
  3. 1 facsimile score (34 p.); 30 cm.
  4. Voice + archiphone; alto recorder; archiphone.
  5.  
  6. Four neighbours, Play of the dieses, Secret of Utnapishtim, Love of three dieses, De profundis, Prelude in C, Nocturne in G, Clashes, Quattrotonic No. 2, Alternatives 2, Toccata in C, Minor tone melody, Stoic lament, All the majors, Alternatives 1, Chains of midi-thirds, Septimal melody, Two songs, Quattrotonic No. 1, Three pieces for recorder, Fourteen pieces for archiphone, Swing.
  1. The Four Neighbours. / Bill Coates. ? 1986.
  2. Sydney: AMC Library number: 785.46612/COA 3 c.1
  3. 1 facsimile score (2 p.); 28 cm.
  4. Alto recorder + archiphone.
  5.  
  6.  
  1. Two Miniatures: The Minor Tone Melody; The Swing. / Bill Coates. - ? 1989.
  2. Sydney: Australian Music Centre, 788.36/COA 1
  3. 1 score ([12] p.); 30 cm.
  4. Alto recorder.
  5.  
  6. Music written in the temperament of 31 notes to the octave. Performance notes included
  1. Larghetto: / Bill Coates. - ? date.
  2.  
  3.  
  4. AT recorders.
  5.  
  6.  

Coggan, Margaret (? dates)

  1. Kurrawongs. / Margaret Coggan. - ?date.
  2. Armidale: Orpheus Music (2000)
  3.  
  4. Recorder ensemble.
  5.  
  6. Winner of Open Ensemble composition competition in The Third National Recorder Competition, Armidale 2000. Review by Paul Clark, Recorder Magazine 21(4): 145 (2000). A Kurrawong is an Australian magpie which has a charactistically liquescent call.
  1. Shining Light on the Water. / Margaret Coggan. - ? date.
  2.  
  3.  
  4. Recorder ensemble.
  5.  
  6.  
  1. Handeling a Rondo. / Margaret Coggan. - ? date.
  2. Armidale: Orpheus Music OMP041.
  3.  
  4. SAT recorders + piano.
  5.  
  6. Simple piece based on themes by Handel suitable for massed playing by fairly inexperienced players. Soprano part uses 5 notes.
    Review by Ben Norbury, Recorder Magazine 21(3): 107-8 (2000).

Cohen, Mary

  1. A Medieval Dance / Mary Cohen. - 1991
  2. Sydney: Currency Press (Thorn 1995).
  3.  
  4. SATB recorders
  5.  
  6.  

Cowie, Edward (1943-)

  1. Queensland Sweet 1: for recorder quartet / Edward Cowie. - 1991
  2.  
  3. 1 facsimile score (17 p.); 30 cm.
  4. 4 recorders.
  5.  
  6.  

Cronin, Stephen (1960-)

  1. Suite: Homage to Vaughan Williams. / Stephen Cronin. - 1983.
  2. Sydney: Australian Music Centre, Q 784.718365/CRO 1
  3. 1 facsimile score (17 p.); 36 cm.
  4. Alto recorder + string orchestra.
  5.  
  6. The dynamic range of the recorder, like the harpsichord and the guitar, has often been considered too soft to compete in the modern orchestra and the use of the instrument has largely been confined to performances of early music and chamber works. While usually associated with Baroque sounds and musical ideas, the revival of interest in the recorder during the early twentieth century is most notable in the English 'Pastoral' school which espoused strong Neoclassic ideals.

    In his Suite for Recorder and Strings written in 1983 while still a student, Stephen Cronin attempts to explore two aspects of twentieth century Neoclassicism. The first and third movements are obviously Neoclassic in design; the structure of the latter is fugal and its material is quite freely derived from the first movement. The central movement, a musical reference to Ralph Vaughan Williams to whom the work is in homage, uses free modal harmony and characteristic rhythmic configurations.

    Cronin's Suite was written at the suggestion of Bruce Mac Ray, a music student at the University of Queensland. It was premiered in 1984 by John Martin and the strings of the Queensland Symphony Orchestra, conducted by Patrick Thomas at a concert of new music at the ABC Ferry Road studios, Brisbane – John Martin (pers. comm.)

    This work has been recorded by Western Australian recorderist Tamara Herman and is now available on her CD Woodworks

ol>

  • Two movements: I. Largo, II. Scherzo. / Stephen Cronin. - 2003.
  • Griffith University - Queensland Conservatorium Library, QCGU Score M562.C76 M68 2003; National Library of Australia, MUS N m 785.44195 C947 MUS NL m 785.44195 C947
  • 1 ms. score (32 p.); 31 cm
  • Alto recorder + 2 violins + viola + cello
  • 10:00
  •  

    • Cugley, Ian (1945-)

    1. Alma redemptoris mater. / Ian Cugley. - 1971.
    2.  
    3.  
    4. Recorder + female choir.
    5.  
    6.  
    1. This is the Truth sent from Above. / Ian Cugley. - 1971.
    2.  
    3.  
    4. Recorder + oboe + cello + baritone.
    5.  
    6.  

    Currie, Neil. (1955-)

    1. Stopping by Woods on a Snowy Evening. / by Neil Currie. - 1985.
    2. Original score in Canadian Music Centre, Toronto. Facsimile in Sydney: Australian Music Centre 788.366/CUR 1
    3. 3p.; 28 x 43 cm; facsimile ([6] p.); 21 x 30 cm
    4. T recorder.
    5. 6:00
    6. Based on a poem of the same title by Robert Frost. Released on CD Phoenix Songs (Move MD 3165). Premiere: July 1985, Sydney, Australia; Ian Shanahan. Microtonic.

    Dean, Brett (1961-)

    1. Nocturne for Miss Genevieve. / by Brett Dean. - 2006.
    2.  
    3.  
    4. recorder, electronics
    5.  
    6. Composed for performance by Genevieve Lacey (recorder) and Bob Scott (electronics) on 18 October 2006 at The Edge, Federation Square, Melbourne. Broadcast by ABC Classic Radio at 2200 hrs, Friday 20 October 2006.

    Dench, Chris

    1. From n(ich)t: 1. / by Chris Dench. - 1999.
    2. Australian Music Centre
    3. 1 facsimile score (12 p.) ; 26 x 37 cm.
    4. Soprano voice, recorder, guitar
    5. 6 minutes
    6. Dedication: "To Berni M Janssen and the Aphids Trio: Deborah Keyser, Natasha Anderson, Geoffrey Morris." Text from Xstatic by Berni M. Janssen.

    1. Light-strung sigils. / by Chris Dench. - 2001.
    2. Sydney: Australian Music Centre Q 785.3417/DEN 1
    3. 1 facsimile score (vii, 48 p.); 26 x 37 cm.
    4. Amplified recorder (gsSATB), flute (doubling piccolo and alto flute), clarinet in A (doubling contrabass clarinet), piano, percussion, violin, cello.
    5. 13:15
    6. No. 5 from Configuration space / Platonia. Dedication: "For Colin Matthews & Music of Changes who commissioned this work".

    Donald, Ian (1935-)

    1. Construction for an exhibition. / Ian Donald. - 1975.
    2.  
    3.  
    4. AT recorders + flute.
    5.  
    6.  

    Dreyfus, George (1928-)

    1. The Adventures of Sebastian the Fox. / George Dreyfus. - 1968/1972.
    2.  
    3.  
    4. SATB/SSAT recorders + narrator.
    5.  
    6.  

    Eccles, Lance

    1. Blue Neon. / Lance Eccles. - 1983.
    2.  
    3. 1 facsimile score (5 p.); 30 cm. + 5 parts.
    4. SATTB recorders.
    5. 3 min.
    6. Review by Paul Richards, Recorder Magazine 26(1): 25 (2006).
    1. Music for Recorders / Lance Eccles. - 1983.
    2.  
    3. 1 facsimile score ([8] p.); 29 cm.
    4. SAATB recorders.
    5.  
    6. Review by Paul Richards, Recorder Magazine 26(1): 25 (2006).
    1. Nuclear Cloud. / Lance Eccles. - 1983.
    2.  
    3. 1 facsimile score (4 p.); 30 cm. + 5 parts.
    4. SAATB recorders.
    5. 2 mins
    6.  
    1. Bransle Suite. / arr. Lance Eccles. - 1984.
    2.  
    3.  
    4. S-B recorders + percussion (optional).
    5.  
    6.  
    1. Four Highland Songs./ arr. Lance Eccles. - 1984.
    2.  
    3.  
    4. SATTB recorders + guitar (optional).
    5.  
    6.  
    1. Three English Folksongs. / arr. Lance Eccles. 1984.
    2.  
    3.  
    4. TTTTB recorders.
    5.  
    6.  
    1. Three Yugoslav Dances. / arr. Lance Eccles. - 1984.
    2.  
    3.  
    4. SAA recorders + percussion.
    5.  
    6.  
    1. Amazing Blue Grace. / Lance Eccles. - 1984.
    2.  
    3. 1 facsimile score (4 p.); 30 cm. + 5 parts.
    4. AATTB recorders.
    5. 3 mins.
    6.  
    1. Fantasy on a Gregorian Theme: Asperges me [=Gregorian Fantasy, No. 1.] / L. Eccles. - 1984.
    2.  
    3. 1 facsmile score (3 p.); 30 cm.
    4. Recorders SATTB.
    5. 2 min.
    6.  
    1. Fantasy on Heute bin ich rot. / Lance Eccles. - 1985.
    2.  
    3.  
    4. SAATB recorders.
    5.  
    6.  
    1. Five Italian Folksongs. / arr. Lance Eccles. - 1985.
    2. Armidale: Orpheus Music OMP031
    3.  
    4. SATTB recorders + guitar.
    5.  
    6. These would suit the medium-level consort. The tunes are attractive, and there are not too many technical challenges, except perhaps in the last piece, which is in the style of a tarantella and has a few tricky cross-rhythms.
    1. Solar Orbit. / Lance Eccles. - 1985.
    2.  
    3. 1 facsimile score (2 p.); 30 cm.
    4. SATB ecorders.
    5.  
    6.  
    1. Playford Medly I, II. / Lance Eccles. - 1985.
    2.  
    3.  
    4. Alto recorder + crumhorn + percussion.
    5.  
    6.  
    1. Pink Neon. / Lance Eccles. - 1987.
    2. Sydney: Self published, performance parts available for hire.
    3. 1 facsimile score (5 p.); 30 cm.
    4. AATTB recorders.
    5. 3'28"
    6. "Pink Neon suggests the atmosphere of a sleazy nightclub , and in style it is reminiscent of the 'bump and grind' music of the '40s or '50s."

      Recorded by Dymaxion, Strine Pearls (CD & Cassette), email Justine Thornley

    1. Verbunkos Dance Suite. / Lance Eccles. - 1987.
    2. Armidale: Orpheus Music OMP026
    3.  
    4. SATTB recorders + guitar/harpsichord.
    5.  
    6. This is an medley of six 18th-century Hungarian tunes. The six pieces are played without a break, forming a single, fairly lengthy movement. The originals on which the suite is based were for solo violin; this arrangment is for recorder quintet. The upper parts demand fairly good players. Review by JANUS (Andrew Mayes), Recorder Magazine 21(3): 110 (2000).
    1. Apocalypse / Lance Eccles. - 1987.
    2.  
    3.  
    4. SATTB recorders.
    5. 7 mins.
    6. See Hauwe (1998).
    1. The Nations Vols 1 & 2 (revised). / arr. Lance Eccles. - 1987.
    2. Sydney: Self-published; Mundingburra: Cootamundra Music LE13/14a.
    3. Score.
    4. SSA/SST recorders.
    5.  
    7. 20 arrangements of European and Asian folksongs. Of intermediate level, and in a range of different styles. Review by Louise Phillips, Recorder Magazine 21a(3): 106 (2001).
    1. Elaboration on the Coventry Carol. / Lance Eccles. - 1987.
    2.  
    3.  
    4. SSA/SST recorders.
    5.  
    6. See Hauwe (1998).
    1. Spangled Sonata. / Lance Eccles. - 1987 (revised 2002).
    2. Armidale: Orpheus Music OMP 082 (2002)
    3. 1 score (7 p. ); 30 cm
    4. AA recorders.
    5. 7:00
    6. Movements: Shower of Amethysts, Crystal Towers, Shattered Moonlight. See Hauwe (1998).
    1. Hang Gliders. / Lance Eccles. - 1988.
    2.  
    3.  
    4. SATTB recorders.
    5. 8 min.
    6. See Hauwe (1998).
    1. Variations on La Folia. / Lance Eccles. - 1988.
    2.  
    3.  
    4. SATTB recorders.
    5. 6 min.
    6. See Hauwe (1998).
    1. Transgressions: 1. Skating on thin ice, 2. In the transgressive mode, 3. Clocks 4. Vines and tendrils, 5. Caterpillar, 6. Internationale merry-go-round. / Lance Eccles. - 1988.
    2. Haberfield: L. Eccles & P. Petocz LE23 (ca 1998)
    3. 1 score (13 p.); 30 cm
    4. AA recorders.
    6. Reviewed by Helen Hooker, Recorder Magazine 21a(3): 106 (2001).
    1. The Planets' Feet. / Lance Eccles. - 1989.
    2. Armidale: Orpheus Music OMP 060 (2001)
    3. 1 score (12 p.) + 5 parts; 30cm
    4. SATTB recorders
    5. 10 min.
    6. Review by Carson Cooman, American Recorder 46(4): 48 (2005). See Hauwe (1998).
    1. The Planets' Feet. Part 2. / Lance Eccles. - 2003.
    2. Armidale: Orpheus Music OMP 093 (2002).
    3. 1 score (7 p.) + 5 parts; 30 cm
    4. SATTB recorders.
    5. –
    6. Review by Carson Cooman, American Recorder 46(4): 48 (2005).
    1. Five Ukrainian Folksongs / arr. Lance Eccles. - 1990.
    2. Armidale: Orpheus Music OMP022
    3.  
    4. SATTB recorders.
    5.  
    6. Arrangements for recorder quintet of a group of extremely attractive tunes. For the consort with some playing experience.

      Released on CD The Great Emu War (Orpheus Music OM101)
    1. Four Irish Songs / arr. Lance Eccles. - 1990.
    2. Performance parts available for hire.
    3. 1 facsimile score (12 p.); 30 cm.
    4. SSATB recorders.
    5.  
    6.  
    1. Gregorian Fantasy No. 2: Kyrie eleison. / Lance Eccles. - 1990.
    2.  
    3. 1 facsimile score (3 p.); 30 cm.
    4. SATTB recorders.
    5. 2 min.
    6.  
    1. Gregorian Fantasy No. 3. / Lance Eccles. - 1990.
    2.  
    3.  
    4. TBB recorders.
    5. 2 min.
    6. See Hauwe (1998).
    1. Gregorian Fantasy No. 4. / Lance Eccles. - 1990.
    2.  
    3.  
    4. SATTB recorders.
    5. 4 min.
    6. See Hauwe (1998).
    1. Three Gregorian Fantasies. / Lance Eccles. - ? 1990.
    2. Armidale: Orpheus Music OMP 119 (? 2004).
    3. 11 p, 5 pts
    4. SATTB recorders.
    5.  
    6.  

      7. Review by Paul Clark, Recorder Magazine 24(4): 133 (2004); Valerie Hess, American Recorder 46(4): 48 (2005).

    1. Storms. / Lance Eccles. - 1990.
    2.  
    3. 1 score (4, 3, 4 p.); 30 cm.
    4. SATB recorders.
    5. 8 min.
    6.  
    1. Public Hospital. / Lance Eccles. - 1990.
    2.  
    3.  
    4. AATTB recorders.
    5. 12 min.
    6. See Hauwe (1998).
    1. Feeding Time at the Zoo: Horses and Kangaroos), (Maggots and Salamanders, etc. / Lance Eccles. - ?date.
    2. Sydney: self-publshed; Mundingburra: Cootamundra Music LE15; Armidale: Orpheus Music OMP 073 (ca 2001).
    3. 1 score (40 p.) + 3 parts.
    4. SATB recorders.
    5.  
    6. 20 intermediate-level pieces, each one depicting a different animal. Review by Helen Hooker, Recorder Magazine 21a(3): 107 (2001).
    1. Spiders: 1. Redback, 2. Orb Weaver, 3. Funnelweb. / Lance Eccles. - ? date.
    2. Mundingburra: Cootamundra Music LE17; Armidale: Orpheus Music OMP 061 (ca 2001).
    3. 1 score (12 p.) + 4 parts; 30 cm
    4. SATB recorders.
    5.  
    6. These SATB pieces depict three of Australia's spiders – the Redback, the Orb Weaver (which hangs its big web in your garden), and the Funnelweb (the most dangerous of all).

      Orb Weaver: "Higher up among the trees, the Weaver in her arbor lies: With open arms she greets a guest and kisses him until he dies, then back and forth, and round and round, encasing him in silken skeins she leaves him hang, and clambers back to where, unmoving, she remains."

      Review by Helen Hooker, Recorder Magazine 21a(4): 152 (2001).

      Orb Weaver recorded by Dymaxion, Strine Pearls (CD & Cassette), email Justine Thornley

    1. The Nations Vols 3 & 4. / arr. Lance Eccles. ? date.
    2. Sydney: Self-published; Mundingburra: Cootamundra Music LE20.
    3. Score.
    4. ATB recorders.
    5.  
    6. A further 22 arrangements of European and Asian folksongs. Reviewed by Louse Phillips, Recorder Magazine 21a(3): 106 (2001).
    1. Four Korean Folksongs. / arr. Lance Eccles. - ? date.
    2. Mundingburra: Cootamundra Music LE16; Armidale: Orpheus Music, OMP 095 (2003).
    3. Score.
    4. SATB recorders.
    5.  
    6. Traditional Korean tunes. I've tried not to squash them into a classical Western harmonic framework.

      Reviews by John Martin, Australia's Journal of Recorder & Early Music 18: 24-25 (1994); Janice Ormerod, Recorder Magazine 23(3): 88 (2003). Released on CD The Great Emu War (Orpheus Music OM101).

    1. Four Revolutionary Songs from Northwest China. / arr. Lance Eccles. - 1993.
    2. Sydney: self-published; Mundingburra: Cootamundra Music LE18.
    3. Score and parts.
    4. SATB recorders.
    5.  
    6. In China these are all very famous tunes. I've tried not to impose a classical Western harmonic framework on them. Review by Greg Lewin, Recorder Magazine 21a(3): 106-107 (2001).

      Released on CD The Great Emu War (Orpheus Music OM101)

    1. Four Songs of Catalonia: Song of the Thief, Lady of Aragon, etc. / arr. Lance Eccles. - 1993.
    2. Sydney: Self-published; Mundingburra: Cootamundra Music LE19.
    3. Score and parts.
    4. SATB recorders.
    5.  
    6. These are SATB arrangements of four very beautiful melodies from Catalunya, in northeast Spain. Review by Greg Lewin, Recorder Magazine 21a(3): 106 (2001).
    1. An Evening of Chaconnes. / Lance Eccles. - 1997.
    2. Published by the composer, LE21; Armidale: Orpheus Music OMP 106 (2003).
    3. 1 score (22 p.) + 4 parts ; 30 cm.
    4. SATB recorders
    5.  
    6. A set of ten chaconnes for SATB recorders, written for the Sydney Society of Recorder Players. Score (32 pages) + two part books, one containing soprano and alto parts on opposite pages, and the other containing tenor and bass parts. A chaconne is based on a constantly repeating bass line, or at least, on the harmonies that the bass line supports.

      Review by Kathryn Bennetts, Recorder Magazine 21a(4): 152 (2001).

    1. Rabbit Farm. / Lance Eccles.
    2. Armidale: Orpheus Music OMP 058
    3. Score + parts
    4. SATB recorders
    5.  
    6. Review by Jean McCreeny, Recorder Magazine 21a(4): 152 (2001).
    1. On the Forest Floor. / Lance Eccles. - ? date.
    2. Armidale: Orpheus Music OMP 064.
    3. score
    4. AA recorders
    5.  
    6. Five movements, inlcuding On the forest floor, Wombat's breakfast, Lichens. Reviewed by Louise Philips, Recorder Magazine 21a(4): 152 (2001).
    1. Pigs with Wigs. / Lance Eccles. - ? date.
    2. Sydney: Currency Press (Thorn1995).
    3.  
    4. SSA/SST recorders
    5.  
    6.  
    1. Broken Promises. / Lance Eccles. - ? date.
    2. Sydney: Self published, 1994.
    3. Score and parts, 6pp.
    4. TTBB recorders.
    5. Broken Promises (1st mvt) 2'7''
    6. 'Lake of Tears' is primarily based on a Japanese scale, not only in the melody but also in the harmony.

      Lake of Tears, recorded by Dymaxion, Strine Pearls (CD & Cassette), email Justine Thornley
    1. Purple Neon. / Lance Eccles. - ? date.
    2. Armidale: Orpheus Music OMP009.
    3.  
    4. SDDTTTTBB recorders.
    5.  
    6. This is for nine recorders, ranging from sopranino to bass. It's rather "blue" in style and was written with reasonably experienced players in mind.

      Reviewed by Paul Clark, Recorder Magazine 19(2): 52 (1999); Letitia Berlin, American Recorder 41(1): 26-27 (2000).
    1. Spectrum. / Lance Eccles. - ? date.
    2. Armidale: Orpheus Music OMP010.
    3.  
    4. STTTB recorders.
    5.  
    6. 3 movements: Infra-Red, Sunlight, Ultra-Violet. Reviewed by Paul Clark, Recorder Magazine 19(2): 52 (1999); Letitia Berlin, American Recorder 41(1): 26-27 (2000).
    1. Shaanbei. / Lance Eccles. - ? date.
    2. Armidale: Orpheus Music OMP024.
    3.  
    4. SATBG recorders.
    5.  
    6. Shaanbei means Northern Shaanxi Province, and these are traditional tunes from that part of China. I've arranged them for a quintet of recorders (from soprano to great bass in C), being careful to preserve their Chinese quality.

      Reviewed by Letitia Berlin, American Recorder 41(1): 26-27 (2000).
    1. 20 Stampedes. / Lance Eccles. - 1998.
    2. Sydney: Self-published, LE22.
    3.  
    4. SATB recorders.
    5.  
    6. Reviewed by Mary T. Mitchell-Gogay, Recorder Magazine 21a(3): 106 (2001). 20 "Stampedes", each depicting a stampede by a different critter: hippopotamuses,warthogs, snails, angels . . .
    1. 10 Stampedes. / Lance Eccles. - 1998.
    2. Armidale: Orpheus Music OMP146.
    3.  
    4. SATB recorders.
    5.  
    1. Transgression. / Lance Eccles. - ? date.
    2. LE23, available from the composer.Available from Orpheus Music as LE009.
    3.  
    4. AA recorders.
    5.  
    6. 6 duets, not easy, but fairly good amateurs should be able play them well with not too much practice.
    1. In Brazilian Style. / Lance Eccles. - ? date.
    2. Armidale: Orpheus Music OMP028
    3.  
    4. SAAT recorders + guitar (optional).
    5.  
    6. These are four original pieces for recorder quartet without bass. Chords are also provided for an optional guitar accompaniment. They are in the style of the Brazilian choro, a popular instrumental form that arose during the 19th century and has continued to develop up till today. The rhythms are bit tricky in places.

      Review by Paul Clark, Recorder Magazine 21(3): 106 (2000).
    1. Four Sephardic Songs. / Lance Eccles. - ? date.
    2. Armidale: Orpheus Music OMP042
    3.  
    4. ATTB recorders.
    5.  
    6. These are based on songs of the Sephardim, descendants of the Jews who were expelled from Spain in the 15th century,most of them moving to the eastern Mediterranean. Poignant melodies retaining much of the character of the music of Spain.
    1. Promenades. / Lance Eccles. - ? date.
    2. Armidale: Orpheus Music OMP049 (2000)
    3. Score and parts.
    4. ATB recorders.
    5.  
    6. Three moderately demanding trios, quite traditional in harmonic content: Promenade of Goddesses, changing key several times and with wide leaps in the melody; Promenade of Nymphs, serene and undulating; Promenade of Satyrs, fast and with a constantly-changing rhythm (mainly 5/4).
    1. Colours of the New Millenium. / Lance Eccles. - 2000.
    2. Sydney: Self-published, LE24
    3. Score and parts.
    4. SATTB recorders.
    5.  
    6. Five Movements: Scarlet Moon, Purple Forest, Pink Bunnies, Black Cherry Blosoms, Silver Rainbow. Review by Kathryn Bennetts, Recorder Magazine 21a(4): 153 (2001).
    1. Metallica. / Lance Eccles.
    2. Armidale: Orpheus Music, OMP 050.
    3. Score and parts.
    4. ATTB recorders.
    5.  
    6. Six Movements: Platinum, Copper, Radium, Gold, Iron, Mercury. The musical language is for the most part conservative, but with the occasional modern effect in keeping with the nature of some of the metals depicted.
    1. Alleycats' Picnic. / Lance Eccles.
    2. Armidale: Orpheus Music, OMP 069.
    3. Score and parts.
    4. ATTB recorders.
    5.  
    6.  
    1. Oceania. / Lance Eccles.
    2. Armidale: Orpheus Music, OMP 070.
    3. Score and parts.
    4. ATTT recorders.
    5.  
    6.  
    1. Moonlit Garden. / Lance Eccles.
    2. Armidale: Orpheus Music, OMP 084.
    3. Score and parts.
    4. S recorder + piano.
    5.  
    6. Review by Alison Baldwin, Recorder Magazine 22(4): 154 (2002).
    1. Salad Undressing. / Lance Eccles.
    2. Armidale: Orpheus Music, OMP 094.
    3. Score and parts.
    4. A recorder + cello.
    5.  
    6.  
    1. Tango Armadillo. / Lance Eccles.
    2. Armidale: Orpheus Music, OMP 121.
    3. Score and parts.
    5.  
    6.  

      7. Review by 'PR', Recorder Magazine 24(4): 130 (2004); Carson Cooman, American Recorder 46(4): 48 (2005).

    1. The East is Red & Liuynag River. / Lance Eccles.
    2. Armidale: Orpheus Music, OMP 118.
    3. Score and parts.
    5.  
    6.  

      7. Review by Adam Dopadlik, Recorder Magazine 24(4): 130 (2004).

    1. Vampires. / Lance Eccles. - ? date
    2. Armidale: Orpheus Music, OMP 131
    3. 1 score (8 p.) + 4 parts; 30 cm.
    4. SATB recorders
    5.  
    6. Review by Carson Cooman, American Recorder 46(4): 48 (2005).
    1. Garden of Eden. / Lance Eccles.
    2. Armidale: Orpheus Music, OMP 137 (ca 2005).
    3. 1 score (7 p.) + 3 parts ; 30 cm.
    4. ATB recorders
    5.  
    6.  
    1. Locomotion (three waltzes). / Lance Eccles. - date
    2. Armidale: Orpheus Music, OMP 138 (ca 2005).
    3. 1 score (8 p.) + 4 parts ; 30 cm
    4. SATB recorders
    5.  
    6.  
    1. Polska. / Lance Eccles.
    2. Armidale: Orpheus Music, OMP 139 (ca 2005).
    3. 1 score (8 p.) + 4 parts ; 30 cm.
    4. SATB recorders
    5.  
    6.  
    1. Some Repented. / Lance Eccles. - 2006
    2. Armidale: Orpheus Music, OMP 151
    3. 1 score + 3 parts; 30 cm.
    4. ATB recorders
    5.  
    6. Review by Valerie Hess, American Recorder 47(1): 45 (2006).
    1. Roadkill Sonata. / Lance Eccles. - 2007
    2. Armidale: Orpheus Music, OMP 171
    3. 1 score + 4 parts
    4. AABB recorders
    5.  
    6. Review by Gwilym Beechey, Recorder Magazine 27(4): 140-41.
    1. Hymns and Hearses. / Lance Eccles. - 2007
    2. Armidale: Orpheus Music, OMP 172
    3. 1 score + 4 parts
    4. SATB recorders
    5.  
    6. Review by Gwilym Beechey, Recorder Magazine 27(4): 140-41.
    1. Happy Birthdays. / Lance Eccles. - 2007
    2. Armidale: Orpheus Music, OMP 173
    3. 1 score + 4 parts
    4. SATB recorders
    5.  
    6. Review by Gwilym Beechey, Recorder Magazine 27(4): 140-41.
    1. Public Hospital. / Lance Eccles. - 2007
    2. Armidale: Orpheus Music, OMP 174
    3. 1 score + 4 parts
    4. AATTB recorders
    5.  
    6. Review by Gwilym Beechey, Recorder Magazine 27(4): 140-41.

    1. Goldilocks. / Lance Eccles. - 2007
    2. Armidale: Orpheus Music, OMP 178
    3. 1 score + 4 parts
    4. AABB recorders
    5.  
    6. A whimsical look at the classic fairytale.
      1. Through the Forest.
      2. A Short Sleep, with Bad Dreams. 3. Discovery, Struggle, Escape.

    Edwards, Ross (1934-)

    1. Rain dance. / Ross Edwards. - 1978.
    2. In Steve Rosenberg, The Recorder Consort (Boosey and Hawkes), one of the Ten Little Duets (see below); Armidale: Orpheus Music OMP 023 (ca 1982)
    3. 1 facsimile score ([2, 2] p.); 35 cm; 1 score (15 p.); 30 cm
    4. SS/AA recorders.
    5.  
    6.  
    1. Ten Little Duets. / Ross Edwards. - 1982.
    2. Armidale: Orpheus Music OMP 023
    3. 1 facsimile score (11 p.); 42 cm.
    4. SS/TT recorders.
    5.  
    6. Includes Celebration, Mbira, Echoes, and Ocarinas. Reviewed by Paul Clark, Recorder Magazine 19(2): 51 (1999).
    1. Ulpirra. / Ross Edwards. - 1993.
    2. Armidale: Orpheus Music OMP 020
    3. 1 facsimile score (2 p.); 42 cm.
    4. S recorder.
    5. 1:36
    6. Recorded by Joanna Dudley on Tall Poppies TP051 1.40 Reviewed by Paul Clark, Recorder Magazine 19(2): 51 (1999).
    1. Two Duets. / Ross Edwards. - / date.
    2.  
    3.  
    4. SS recorders.
    5.  
    6.  
    1. Duet. / Ross Edwards. - 1995.
    2. Sydney: Currency Press (Thorn1995).