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- Fantasia for Sue 1978.
Alto recorder solo.
First performed by Sue Blake 1978
- Pebbles 1984
Three treble recorders.
Static and mesmerising piece that resembles the percussive and melodic sound of pebbles of various sizes falling in water. First performed at the 'Block' by students of Walter Van Hauwe (Sweelinck Conservatorium, Amsterdam) 1984
- Prelude 1987
Collage of sound based on Jacob van Eyck's English Nightingale.
First performed at Recorder '87, Melbourne.
- Leviathan 1987
Bass recorder solo
First performed in Mt Lawley (Perth, Australia) at the Perth Conservatorium of Music 1987.
- Waratah Flat - Shades of an East Gippsland Forest 1987
5 recorders (various combinations) and multi-media (pre-recorded natural sounds by sound recordist Duncan King-Smith, and large format back-projected slides by Melbourne photographer David Tatnall)
First performed at Recorder '87, Melbourne
- Sanctuary Threatened 1988
Various combinations of recorders.
Suite of pieces pre-recorded for audio-visual presentation by David Tatnall and Duncan King-Smith as part of campaign to protect East Gippsland (Victoria, Australia) native forests.
First played at the Hawthorn Town Hall 1988.
Later used (extracts) for Duncan King-Smith's "The Mapping of Memories - The Telling of Place", a four-part documentary broadcast on ABC Radio National (1990).
- Ade 1995
Soprano recorder + cavaquinho.
Our (Doug de Vries and I) first duo concert (1995) included a bracket from Ade Monsbourgh's famous Recorder in Ragtime album (recorded in the 1950s) as well as Brazilian music by Gismonti and Pascoal. Ade is a light and playful response to these influences. Strangely, I first composed the tune and 'bass-line' accompaniment for Ade on a ten-course renaissance lute! Here the little Brazilian 4-string cavaquinho accompanies the soprano recorder.
Recorded on CD Agua e Vinho Orpheus Music OM201 (1998) and expanded re-release ECM - Carmo/14 (2000).
- Changes (For Glyn and Liz's wedding)1996
Soprano, Alto, Bass recorder + Portative Organ
- Aspiring 1996
Three-part improvisatory piece for any large group of diverse recorders (1. Building Chords, 2. Ground Bass, 3. Seagulls). It was composed upon the occasion of the refurbishment of the landmark Melbourne Arts Centre Spire and first performed by 60 players outdoors at the VicHealth Music for the Family series in the forecourt adjacent to the Spire. It has since been played by diverse groups far and wide from Wellington (NZ) to the Otway Ranges (Victoria, Australia) at the Geelong Folk Club's annual Turramurra folk music camp.
- Song of Reconciliation 1997.
Voice flute (tenor recorder in d') + guitar.
Contemplates and celebrates the cathartic and joyful act of reconciliation. It was composed around the time of the Australian Government's refusal (1997) to formally apologise to Australia's aboriginal 'stolen generation'. Originally written for guitar solo, the 'low' voice flute (tenor recorder in d') lyrically enhances the tune in this version. Recorded on CD Agua e Vinho, Orpheus Music OM201 (1998) and expanded re-release ECM - Carmo/14 (2000).
- Zana 1998 [Sheet Music now published with Orpheus Music (OM092)]
Alto ('Ganassi') recorder in g' + egg-shaker.
Australian recorder player Zana Clarke Nardoo) has helped to transform the 'Ganassi' treble recorder in g' from the beautiful, but rather restricted realm of period renaissance ricercars and divisions to become a vital living and breathing contemporary musical instrument. In Zana, the 'Ganassi' recorder touches a little Brazilian sunlight - with the help of an egg-shaker! Recorded on CD Agua e Vinho Orpheus Music OM201 (1998) and expanded re-release ECM - Carmo/14 (2000).
Reviews of Zana:
"Zana began life as an improvisation and was inspired by “the beauty and possibilities” of Fred Morgan’s Ganassi altos that the composer played whilst working as a tester in Morgan’s workshop. Waterman has infused his love of the Ganassi recorder with a Brazilian flavour and produced a sunny Samba-type piece for alto in g’, although an alternative version in f’ is also supplied.
The work is relatively short but can be taken at many levels. For instance, intermediate players may be looking to simply expand their repertoire, whereas advanced performers could integrate rhythmic accompaniment ad libitum or add a guitar part. There’s no reason why central ideas can’t also be improvised around. At the very least Waterman’s music should be instilled with zest and energy, just as the composer intended."
- Louise Phillips The Recorder Magazine (UK) Summer 2003 Vol. 23 no. 2
"Rodney Waterman, the composer of Zana (named after recorderist and Orpheus Music Proprietor Zana Clarke), is an Australian recorder player who is enamoured of Brazilian popular music. … Zana is pure fun. Waterman uses mild special effects to create a parody of a samba. Most hilarious is his use of a wide vibrato created by waving the cupped right hand over the window (familiar to most recorder players through Hans-Martin Linde’s Music for a Bird and/or the final section of Ryohei Hirose’s Meditation) to imitate the sound of an old, out of tune Wurlitzer electric organ. The most difficult aspect of this piece is its rhythms. They are very tricky to read, but flow naturally once they become familiar. Zana offers two scores: one for Ganassi alto in g’ (preferred), the other for standard alto in f."
- Pete Rose, American Recorder, March 2004
- Xanthorrhoea 1999
Alto recorder and percussion.
First performed in Denmark WA (July 24) with percussionists Simon Neville and Andy Ducker from Denmark at the Denmark Uniting Church. Inspired by a patch of remnant bushland with large marri and jarrah trees, and ancient Grass Trees (Xanthorrhoea). A version of this piece for voice flute and guitar (used percussively) appears on the new and expanded version of Įgua e Vinho released internationally on the Carmo/ECM label (Carmo/14 - distributed by ECM Records Munich) 20/11/00.
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