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During 2007 I spent a lot of time making field recordings of background noise in Paris, and analysing the spectral and rhythmic content of those recordings. I found the more I listened to my recordings, the more musical material I found hidden in these background hisses and hums, chatterings and otherwise banal noises: rhythms, mysterious melodies, energies and harmonic tensions. While working on this commission for the NZSO, I decided to try to capture the intrinsic musical essences I could hear in my field recordings, and interpret those sounds in an orchestral context, with the juxtaposition of the original noise recordings finding musical relationships in the orchestral counterpart. The resulting piece is a conjuring of various energies, or furies, caught in the background noise of Paris, and finding their way into the back of my throat to be sung into a quiet fury.

Lissa Meridan

• Meridan: a quiet fury; computer-set 

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• Meridan: a quiet fury; computer-set 

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• Meridan: a quiet fury; computer-set 

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• Meridan: a quiet fury; computer-set 

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• Meridan: a quiet fury; electronic part 

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• Meridan: a quiet fury; electronic part 

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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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• Judy Bailey: Cakewalk Nostalgie 

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• Bailey: The Spritely Ones  Year: 1998 

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Flute Concerto No. 1 was written during 1987 for The Nova String of Wellington and their flute soloist, Karen Batten. This group gave the first public performance of this concerto at The Laings Road Methodist Church, Lower Hutt, during July 1988.

• Biddington: Concerto for flute and string orchestra; facsimile 

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• Biddington: Concerto for flute & string orchestra; facsimile 

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• Eric Biddington - Flute Concerto No.1 

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• Biddington: Flutes Concertos and Chamber Music  Year: 2001 

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• Carr: Concerto for Oboe; facsimile 

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• Carr: Concerto for Oboe; facsimile 

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• Edwin Carr: Concerto for Oboe; video 

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• Carr: Concerto for Oboe 

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• Edwin Carr: Concerto for Oboe 

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• Diversions - Autour du hautbois  Year: 2010 

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• Biddington: Concerto for Two Violins and Strings; facsimile 

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• Biddington: Concerto for Two Violins and Strings; facsimile 

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• Eric Biddington - Finale from Concerto for Two Violins and String Orchestra 

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• Biddington: Cantilena  Year: 2005 

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• Biddington: Concerto for Viola and Orchestra; computer-set 

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• Viola Concerto by Eric Biddington 

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• Eric Biddington - A Piece for Maurice 

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• Eric Biddington - Concerto for Viola and String Orchestra 

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• Eric Biddington: Rendez-vous  Year: 2007 

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• Biddington: Concertos for Flute, Clarinet, Oboe, Viola and 2 Concerto Movements  Year: 2010 

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In many ways this is a companion piece to an earlier work, Vivid for solo trumpet, which also sets a powerful, sexually charged poem by Will Christie. But where Vivid is very often overtly violent and forceful in its gestures, deepwalker is mostly much subtler, almost passive-aggressive in outlook. The opening lines of the poem – “the day is a drum that connects these vocal loops with grey traffic circles bridge after bridge” – are mirrored in the cyclical, sometimes elliptical form of the work, loops and circles that play between registers of the clarinet. Sexual tension and aggression bubble away in the background, periodically rupturing the musical surface with piercing, angular outbursts, sometimes in parallel with the rather tender, fluid lines of the low register, and with the spoken text itself. This violent interplay creates a kind of disordered internal conversation, a bizarre hermetic character opening and shutting her windows; a clarinet of many voices.

Warning: contains coarse language

• Taylor: deepwalker; computer set 

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• Taylor: deepwalker; computer set 

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• Alex Taylor: deepwalker; audio 

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• Alex Taylor: deepwalker 

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This work could also be performed as Duo for Soprano and Cello.

• Duet for Soprano and Cello; facsimile 

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• Besser: Duet for Soprano and Cello; facsimile 

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• Jonathan Besser: Duet for Soprano and Cello 

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• Jonathan Besser: Duet for Soprano and Cello 

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Fluchtig was composed in 1986. The title comes from the German word fluchtig – fleeting – used by Schoenberg and others in various compositions (eg. Op. 19 No. 1). The work is built around the interaction between flute multiphonics (two or more notes played simultaneously) with their characteristic ‘fleeting’ nature, and FM sound on tape.

• Ross Harris: Fluchtig 

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• New Zealand Sounds - October Sound 

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• Ross Harris: Inner Worlds  Year: 1993 

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