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• Norris: 14 Islands; computer set 

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• Norris: 14 Islands; computer set 

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• Michael Norris: 14 Islands; audio 

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• Two works by Michael Norris 

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‘Catalogue with Analogues’ is a reworking of an untitled piece composed in 2000. The work’s primary layer of materials – the catalogue – is pure musique concrete, exploring the possibilities for a music of the ‘raw’. Relationships between objects in this layer are established analogically, by similarities both direct and indirect. These, along with a secondary layer of materials providing soft embellishments of the ‘catalogue’, are the analogues the title refers to.

• 4th Generation: Lilburn Electroacoustic Music Studios 

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The starting point for this piece was some dramatic cloud formations I experienced while in Morrinsville, near Hamilton. It was a brilliant sunny day, with occasional huge and interestingly shaped clouds floating past. They provided inspiration for the opening texture for my piece Clouds, which is flowing and slowly unfolding in character.

Clouds can assume many different shapes and characters and this is reflected in my piece. There are stormy ideas with strong rhythms, jagged ideas built from small motifs, mysterious ideas that suggest darker clouds, bright climaxes that suggest the sun bursting through.

The solo trombone is like a small aeroplane, weaving its way through the clouds and enjoying a rather turbulent journey. Its part is soloistic but integrated into the band texture and often underpinned by the percussion, who have an important role in sustaining the momentum of the piece. Near the end the soloist has a brief cadenza before the music rises to a rumbling climax. This passage finally disintegrates, as the clouds disperse.

Anthony Ritchie

• Ritchie, A.: Clouds, op.114; computer-set 

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• Ritchie, A.: Clouds, op.114; computer-set 

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• GUNG-HO - Virtuoso Works for Trombone - David Bremner  Year: 2009 

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This piece is affectionately known as ‘Bugs’ or ‘the Bug piece’ to me, and that is what it is about: the wonderful creepy crawlies native to New Zealand. Motivation for writing this piece came from two sources. As part of my residency with the Auckland Philharmonia in 2004, I was required to write a piece for a concert specifically at children and families. Naturally, it needed simple structures, lots of energy and a bit of fun.

The second motivation with regard to a specific programme was a love for all native New Zealand fauna, and not just beautiful birds. So much music has been written with bird song or in celebration of New Zealand’s landscape. But nothing to my knowledge had been written about the humble creatures which often inspire revulsion rather than awe. Despite their not so cuddly appearance, native insects and invertebrates are just as fascinating and unique to these islands of ours as any other endemic wildlife.

The first movement is Giant Weta. Often the most notorious for exciting disgust, these magnificent insects are quite amazing, but all to often fall prey to introduced mammals.

The second movement is titled Giant Snails. Native giant snails are enormous, and often live in kauri trees, or feed on giant earthworms on the forest floor.

The Nelson Cave Spider is a extremely unique creature. Like so many other creatures and plant life of New Zealand, it is a relic of ancient times and preserved by New Zealand’s isolation.

Finally, perhaps the most unusual of all is the Peripatus, sometimes known as the velvet worm, a blue centipede-like creature that crawls through undergrowth in search of prey.

• Anthony Young: Concertino for Orchestra - hire set 

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• Anthony Young: Concertino for Orchestra - downloadable PDF 

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• Anthony Young: Concertino for Orchestra - hardcopy score 

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• Two works by Anthony Young 

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• Bowater: Declination Zero; computer set 

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• Bowater: declination 0 (zero); computer set 

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• 175 East: The Sleep of Reason and Declination Zero 

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Dialogue was commissioned by Jeremy Fitzsimons in 2004 with funding from Chamber Music New Zealand and is Gareth’s first work for two mallet percussion instruments. The piece explores the ability of the two instruments to blend into one as well as highlighting the contracts in tone between the two.
The first movement is a development of a chord progression played by the marimba at the beginning; Balinese interlocking techniques (kotekan) are used in the second movement; and the third movement is a moto perpetuo (constant motion) with the two instruments dashing forwards in parallel, in counterpoint, and in canon.

• Farr: Dialogue; computer-set 

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• Farr: Dialogue; computer-set 

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• Gareth Farr: Dialogue; video 

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• Gareth Farr - Tangaroa  Year: 2008 

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The ‘terrain’ in this piece is a membranic, prismatic surface, perhaps water. From deep below, anything might emerge. This is the third of the series of pieces ‘diffracted terrains’ in which I explore symmetry and asymmetry in the structural, timbral and spatial dimensions. The first was composed in 2005 for bass clarinet and double bass followed by ‘DT Remix’ for bass clarinet and live electronics and the more recent ‘diffracted terrains: duo ii’ for violin, horn and piano resonance. ‘diffracted terrains:quintet’ was commissioned by Boundstone College as part of the Real Spaces Project in 2005. Lontano gave it its first two performances in November 2005 at St Michael’s Church, Lancing and at the Purcell Room in London. The revised version was performed in Sheffield and at the Brighton Soundwaves Festival in June 2007.

• diffracted terrains: Chamber Music of Dorothy Ker  Year: 2007 

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• Lardelli: Duo; computer-set 

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• Lardelli: Duo; computer set 

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• Three Generations 

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• Farquhar: Four Janet Frame Songs; computer-set 

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• Farquhar: Four Janet Frame Songs; computer set 

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• Farquhar and Ritchie A.: "soNgZ"  Year: 2006 

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• Speak: Gu Ta; computer set 

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• Jeroen Speak: Gu Ta 

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