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Dorothy Ker  

[...and...11]

Duration: 10' 00" Year: 2002, r. 2006
for twelve players

  • Instrumentation
    alto flute/piccolo; clarinet in A; bass clarinet/small bamboo chimes to hang on music stand; horn in F/small bamboo chimes to hang on music stand; bass trombone/small bamboo chimes tohang on music stand; percussion: 2 suspended cymbals, hihat, sizzle cymbal, 3 toms, medium bass drum, 3 woodblocks, three sets of maracas, bamboo or wood chimes; harp; violin;viola; cello and bass
  • Programme Note

    In this work, cycles of accumulation and decay move in broad wave-like gestures, recalling the sea. I am fascinated by the potency of the tiniest gesture, syllable or phoneme. Having no ‘meaning’ in itself, the syllable ‘and’ is weightless and transient, yet holds enormous power to link ideas; to create anticipation/momentum. It is like a wave bearing thought towards utterance. …and…11 was composed for, and is dedicated to, Chachi and Lontano.

  • Availability

Rosie Langabeer  

Elephant

Duration: 02' 47" Year: 2003
a march in 6 for Dali style elephants for 15 players

James Gardner  

Fetish Effigies

Duration: 08' 00" Year: 2000
for flute, oboe, clarinet, horn, percussion, piano, violin, viola, cello and double bass

  • Instrumentation
    flute (doubles picc. and alto fl.); oboe (doubles cor anglais); B flat clarinet; horn in F; 1 percussion: marimba, vibraphone, bass drum, tam tam, sandpaper blocks and percussion cluster
  • Programme Note

    “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.

  • Availability

Dylan Lardelli  

Four Fragments

Duration: 08' 00" Year: 2002, r. 2003
for large chamber ensemble

William Harsono  

Gelora

Duration: 10' 00" Year: 2003
for Indonesian zither and 10-piece chamber ensemble

Michael Norris  

Icons and Artifice

 Year: 2007
for bass clarinet duo, ensemble and electronics

Eve de Castro-Robinson  

Noah's Ark

Duration: 10' 00" Year: 1991
for large chamber ensemble

Lyell Cresswell  

Passacaglia

Duration: 20' 00" Year: 1988
for chamber ensemble

Chris Adams  

Postcards from Eden

 Year: 2007
for chamber ensemble of twelve players

  • Instrumentation
    for flute, oboe, clarinet, bassoon; horn, trumpet, trombone; violins (2), viola, cello and double bass
  • Programme Note

    Postcards from Eden (i) Los Angeles International Airport (LAX)
    10 hours Feb 2003
    by Chris Adams

    “So God sent them out of the Garden of Eden and made them cultivate the soil from which they had been formed.”

    Fake Palms
    Blue and Green Fluorescents
    Oasis in a concrete jungle.

    American Flag hanging limply
    Between two concrete towers
    Like the defeated Sampson
    Set to bring the ceiling down.

    Increased Security
    More Freedom
    Only in America

    Armed chairs discourage sleep

    “Gateway to America”
    - Not a place to stop.

  • Availability

John Psathas  

Psyzygysm

Duration: 17' 00" Year: 2003
for solo percussionist and mass chamber ensemble including percussion

  • Instrumentation
    percussion soloist, flute, bass clarinet, contra bassoon, trumpet, 4 percussionists, drumkit, harp, piano, 2 violins, viola, cello, double bass
  • Programme Note

    The title roughly translatable as ‘conjunction’, Psyzygysm is an exhilarating chamber concerto that brings together an eclectic ensemble in support of the mallet percussion soloist. Psathas’ preoccupation with jazz and traditional music is synthesised in this work into an explosive, headlong rush. The piano, double bass and drum kit work together like the rhythm section of a jazz combo, the winds and string quartet feature wailing, Middle-Eastern-inspired melodies and the percussion quartet create a musical and visual focus to the piece that locks all the elements together. Psyzygysm is dedicated to the composer’s dear friend David Crossan, guardian techno-angel, saviour of computer crashes, and resurrector of long-lost files.

  • Availability