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violin, cello, piano (some preparation required); all performers required to speak

Piano preparation: the strings between c’’’ and a’’’ need to have a flat metal object laid on top to achieve a bright, jangly ringing sonority (especially from mm 26-37). This/these to be removed by the pianist in the section from m 45.

The three strings F, G, A flat, should have firm rubber wedges between them to create a dull thuddy sonority (for the section at m42), but with a still discernible pitch

At water’s birth is a meditative, ritualistic work, whose sonic palette includes prepared piano sonorities and some vocalising from the players, including whispering, spoken words and whistling.

The pushing out of the boundaries of the conventional instrumental sounds is something I have employed in other works such as the whistling and knocking on the piano lid in small blue for piano and the bell and tamtam playing in Ring True. The meandering sections of the music suggest a relationship with the forces of water, its depth, currents and undercurrents and there is a sense of ritual in some of the chant-like rhythms.

• de Castro-Robinson: At Water's Birth; facsimile  

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• de Castro-Robinson: At Water's Birth; facsimile 

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• de Castro-Robinson: At Water's Birth; facsimile 

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• NZ Premieres 2008 Vol. 1 

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• NZTrio: Flourishes  Year: 2010 

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Flute doubling alto flute; clarinet doubling bass clarinet; horn; bass trombone; percussion (3 tom toms, 2 bongos, 2 suspended cymbals, crotales, vibraphone, bell tree); cello; double bass and bass clarinet solo

Au began as a series of musical reflections on the Auroroa with pitch material based on the name of bass clarinettist Andrew Uren whose initials provide the title. This title, ‘Au’ is also the abbreviation for ‘aurum’, the Latin word for gold. As I was composing I realised that I was dealing with golden qualities not only of the sounds in the piece but also of the musicians in the ensemble 175 East who would be giving its first performance. This was particularly the case with the soloist Andrew Uren whose adventurous bass clarinet playing has revolutionised the way in which composers in New Zealand think about the instrument.

The work was commissioned by Andrew Uren with funding provided by Creative New Zealand and was first performed on 15 September 2002 at The Space, Wellington, by Andrew Uren and ‘175 East’ conducted by Hamish McKeich.

• Rimmer: Au; computer-set 

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• Rimmer: Au (hire set); computer set 

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• Rimmer: Au; computer-set 

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• John Rimmer: Au; audio 

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• 175 East: Microchix and newer stuff 

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• John Rimmer: Au  Year: 2002 

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• Rimmer: 'Au' – concerto for bass clarinet and ensemble  Year: 2002 

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• Andrew Uren: Steep Steps  Year: 2011 

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dirty pixels was written in response to two stimuli: an exhibition of the same name (curator, Stella Brennan) in the Adam Art Gallery featuring New Zealand artwork of a certain rough-hewn, ‘gritty’ nature; and hearing the work Jagden und Formen by German composer Wolfgang Rihm, an unremittingly wild and preposterous discourse of extremes.

These two stimuli caused something of an aesthetic dilemma: leaving behind my rather French fondness for euphonious washes of sound, I became interested in the characteristics of ‘roughness’ and ‘raggedness’, and in how a ‘pure’ conceptual scheme, such as the quite systematic construction I had formulated just prior to starting this piece, became ‘dirtied’ by intuition, by the exigencies of the material and by the reality of having it performed.

Michael Norris
Notes taken from The NZTrio – Spark Morrison Music Trust MMT2066

• Norris: dirty pixels; computer set 

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• Norris: dirty pixels; computer set 

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• Michael Norris: Rays of the Sun .. and Dirty Pixels 

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• New Zealand Trio - Spark  Year: 2004 

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For Violin, Violoncello and Piano was completed in 1999 for the final year of my Masters degree. It was first performed at the Nelson Composers Workshop that year by Mark Menzies, Katherine Hebley and Donald Nicholson. Here it received the Workshop prize, and later in the year the work also received the main prize in the Victoria University School of Music Composition Competition.

The piece follows no programmatic ‘storyline’ but moves rather within shifting emotional sound-worlds. The opening is very ‘inward’, and the intensity eventually builds and explodes into areas of anger or yearning, or maybe something far more subconscious and indefinable. Moments of beauty surface above the intensity, and the journey ends having come full circle – introspective, transcendent, resigned.

Penelope Axtens
Notes taken from NZTrio – Spark, Morrison Music Trust MMT2066

• New Zealand Trio - Spark  Year: 2004 

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piano, bass, gamelan (2 players), electric violin, electric guitar

• Besser: Music for Peace Volume One  Year: 2002 

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synthesizer, bass, gamelan (2 players), electric violin, electric guitar

• Besser: Music for Peace Volume One  Year: 2002 

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synthesizer, electric guitar, violin, gamelan

• Besser: Music for Peace Volume One  Year: 2002 

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kecapi, clarinet, trombone, timpani, percussion, harp, piano, violin, viola, cello, double bass

This one movement work for chamber ensemble and Indonesian zither was composed especially for to Dody Satya Ekagustdiman who was artist in residence 2003 at Victoria University School of Music. The score is mostly graphic notation.

• Harsono: Geloria; facsimile 

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• Harsono: Gelora; facsimile 

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• William Harsono: Gelora and Death, the Hell 

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‘Intaglio’ is a printmaking technique in which an image is etched or engraved on the surface of a plate. Ink would then be applied to the plate and removed from the surface, leaving ink only in the incisions. The title refers less to the work itself than to the process of composing it, a small insight into my ideas about how material manifests in musical shape. This piece is written in three uninterrupted movements.

• Gendall: Intaglio; computer set 

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• Gendall: Intaglio; computer set 

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• New Zealand Premieres Volume 2 

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• Two Works by Chris Gendall 

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Originally a work in four movements written for the Amici Trio, this was later revised in 2002 to include two new movements, Scherzo and Intermezzo.

• Biddington: Music for Friends Vol. 1; facsimile 

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• Biddington: Music for Friends Vol. 1; facsimile 

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• Biddington: Music for Friends; computer-set 

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• Biddington: Music for Friends; computer-set 

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• Biddington: Music for Friends; computer-set  Year: 2002 

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• New Zealand Music for Creative Dance (Volume Two) 

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• Music for Friends: the chamber music of Eric Biddington  Year: 1997 

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