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“The boundary between collection and fetishism is mediated by classification and display in tension with accumulation and secrecy.” Two musical strands run virtually throughout this short piece, sometimes clearly differentiated, at other times more obscure and confused, but always at some level presenting an opposition between an ‘organic’, accretional layer and an ‘inorganic’ abruptly changing one. This opposition can operate not only at surface level – as it does at the beginning, when two highly differentiated instrumental combinations are presented, each with their own characteristic modes of behaviour – but also at a subcutaneous level, when applied to various ways of generating or modifying the basic material. These concerns form only the technical armature and implementation of the piece, of course, and much of the original musical imagery was suggested by Borges’ short story The Circular Ruins.

While giving the obligatory (questionable?) disclaimer about the piece in no way being programmatic, much of the mood and atmosphere of the story was certainly in my mind during the initial sketching stages, and it seems to me that its central conceit – one human dreaming another into existence, by sheer will – is a marvellous metaphor for the act of composition.

• Gardner: Fetish Effigies; computer-set 

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• Gardner: Fetish Effigies; computer-set  Year: 2005 

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• James Gardner: Selected Works 

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• Gardner: Charge and other works 

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• Waiteata Collection of New Zealand Music Vol. 8 - Chamber Music II  Year: 2005 

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• Lardelli: Four Fragments; computer set 

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• Lardelli: Four Fragments; computer set 

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• Waiteata Collection of New Zealand Music Vol. 7 - Emerging Composers  Year: 2003 

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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 

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• Zirkus! – Sirius Music 

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• Beat! International Festival of Gamelan  Year: 1999 

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• Zirkus! – Sirius Music 

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• Rosie Langabeer: Tusalava 

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