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A music-theatre work especially written for Wellington pianist Dan Poynton. Although referring indirectly to religious symbolism, the composition focuses on the physical and mental stress that pianists submit themselves to.

• Body: 14 Stations; computer-set 

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This album was inspired by the poem “To L.H.B.” by Katherine Mansfield that was the first poem set.

• Bell: A NZ Journal: Songs for Solo Voices; computer set 

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• Bell: A NZ Journal: Songs for Solo Voices; computer set 

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• Michael Bell: To L.H.B.; audio 

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“The sanskrit equivalent for initiation is abhisheka, meaning ‘sprinkle’, ‘pour’, ‘anointment’. And if there is pouring, there must be a vessel into which the pouring can fall. So at last we might really give up all these complications and just allow some space, just give in. This is the moment when abhisheka – sprinkling and pouring – really takes place, because we are open and are really giving up the whole attempt to do anything, giving up all the busyness and overcrowding. Finally we have been forced to really stop properly, which is quite a rare occurrence for us.”

(Taken from Chogyam Trungpa’s Cutting Through Spiritual Materialism, from album Nederlands Blazers Ensemble: Zeibekiko, NBECD014).

The composer writes: ”Drafted immediately after reading a book by the Buddhist guru Chögyam Trungpa, Abhisheka was my first-ever attempt at writing music with space in it. Until this piece, practically everything I had written was ultra-caffeinated, fast, full of notes, and murder on performers. But having been (albeit temporarily) inspired by the great truths and peace in Trungpa’s writing, I found myself navigating slower passages of musical time, as well as exploring the microcosm of inner space between the even intervals of our chromatic tuning system.”

Abhisheka by John Psathas was chosen for the list of string quartets in 2000 for ‘IAMIC Sounds of the Year’. The composer has also prepared versions of Abhisheka for mixed chamber ensemble, this version performed by Manos Achalinotopoulos, Vangelis Karipis and Nederlands Blazers Ensemble at Paradiso, in Amsterdam in 2004, and for string orchestra (2008).

Programme note from the New Zealand String Quartet’s 2012 New Zealand at Kings Place concert.

• Psathas: Abhisheka; computer-set 

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• Psathas: Abhisheka; computer-set   Year: 2000 

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• John Psathas: Abhisheka; video  

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• John Psathas, RNZB: Abhisheka (part 4 of 4); video 

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• John Psathas, RNZB: Abhisheka (part 3 of 4); video 

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• John Psathas, RNZB: Abhisheka (part 2 of 4); video 

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• John Psathas, RNZB: Abhisheka (part 1 of 4); video 

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• Psathas: Eight Works 

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• John Psathas: Abhisheka 

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• John Psathas: Rhythm Spike  Year: 1999 

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• Sound Barrier  Year: 2006 

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• notes from a journey  Year: 2010 

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• Body: African Strings; computer-set 

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• Jack Body: African Strings 

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• Jack Body: Pulse  Year: 2001 

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Ars Moriendi investigates the wide range of the bass clarinet through a four-part chorale texture with microtonal inflections and elaborations. From the tentative material at the beginning flowers more assertive proclamations in the dying moments of the piece.

• Norris: Ars Moriendi; computer set 

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• Michael Norris: Ars Moriendi 

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• Brownlee: As if to catch the fleeting tail of time; computer-set 

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• Brownlee: As if to catch the fleeting tail of time; computer-set 

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• Philip Brownlee: As if to catch the fleeting tail of time; audio 

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• Philip Brownlee: As if to catch the fleeting tail of time; video 

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• Philip Brownlee: As if to catch the fleeting tail of time 

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• Two pieces by Philip Brownlee 

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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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• Matthew Davidson: Bergamasques - downloadable PDF 

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• Matthew Davidson: Bergamasques - hardcopy score 

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• Matthew Davidson: Bergamasques - MIDI realisation 

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This short work composed for 175 East’s microscore project in 1999 is scored for a quintet of flute, bass clarinet, bass trombone, cello and double bass – yet it could easily be adapted for any combination.

• Little: Betwixt; computer-set 

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• Little: Betwixt; computer set 

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• 175 East: Microchix and newer stuff 

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• NZ Women Composers Vol. 3 

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Human beings have a fragile relationship with reality: our beliefs are formed from a disordered stream of sensory impressions that flood our synapses. Although our brain is normally very good at packaging this into something that can get us through the day, certain pathological circumstances reveal the tenuous nature of reality. Blindsight is a condition in which a patient cannot “see” visual stimuli, and yet their body instinctively senses and reacts to them. This suggested a musical image: the two winds recite simple chordal gestures, which the strings reflect through a distorting mirror — “sensing” without “seeing”. The piano acts as an intensifying agent, sending flurrying signals down tangled pathways, and releasing static charges through the system.

blindsight was written for the Pierrot Lunaire Ensemble Vienna, as part of the Sammlung Essl Music Series 2009.

• Michael Norris: blindsight - downloadable PDF 

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• Michael Norris: blindsight - hardcopy score & parts 

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• Michael Norris: Blindsight; video 

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• Michael Norris: blindsight 

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• Michael Norris: Three works by Michael Norris 

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