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Many painters — most notably Francis Bacon — have produced series of satellite “studies” around one subject. While these works are complete and interesting in their own right, they also function as commentaries and footnotes on each other, and on the cluster of preoccupations they share, as much as on the “main” paintings for which they are nominally studies. Composers do this sort of thing less often, but it was with this idea of a study in mind that I set out to write a miniature “clarinet concerto” for Gretchen Dunsmore and 175 East some eight years ago.

The piece makes use of the contrasts between the generally light and lithe clarinet writing and the weightier interjections of the ensemble, and the repeated attempts of the soloist to escape the “gravitational pull” of the ensemble could be seen as one narrative strand in the work.

While a study for voicing doubts is a complete composition it was also a testing ground for ideas which have been incorporated into Rank and File Movements, a much larger clarinet concerto for Gretchen, which will be finished in early 2010.

James Gardner

• Gardner: a study for voicing doubts; computer set 

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• Gardner: a study for voicing doubts; computer-set 

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• 175 East Vol. 8 

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• James Gardner: Selected Works 

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My first foray into orchestral writing. Octatonicism abounds! Dedicated to my Dad on his 60th birthday. Adversaria was workshopped by the Auckland Philharmonia, conductor Marc Taddei in 2001.

• Watson, C.: Adversaria; computer-set 

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• Watson, C.: Adversaria; computer 

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• Watson, C.: Adversaria 

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There are two main forces shaping this work, which could be thought of as an “internal” force and an “external” force. The internal force is a process of growth that begins with a complex event heard towards the end of the composition. Variations of this event fan out in all directions across the work’s temporal space, ensuring that every event has a relationship, however distant, to every other event. The detailed crafting of each event, with its constant microscopic fluctuations in pitch and timbre, reflects the detailed activity in a spectral analysis of the title of the piece, a line from one of Ezra Pound’s ‘Cantos’. This analysis is expanded to have the same duration as the composition, so that the entire work is, on one level, an elaboration of a few seconds of spectral activity. The harmonic content of the spectrum is not, however, reflected in this rendering, but rather the morphology, with its evocative twistings, compressions and expansions. The harmonic organisation forms a third structural layer. It originates in the first five odd numbered partials of the natural harmonic series, built on the log ‘G’, an octave below the bass clef. Each partial forms the centre of a narrow band of pitches, from which the “melodic” material is drawn. Ultimately, however, the resulting contrapuntal writing is largely submerged in the surface timbral activity, as the other two structural layers tear at and distort its fabric.

• Hall: and the snow's lace is spread there...; facsimile 

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• Neville Hall: and the snow's lace...; audio 

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• Two Works by Neville Hall 

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• Audain: Earthbound Wings; computer-set 

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• Audain: Earthbound Wings; computer set 

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• Audain: Earthbound Wings; computer-set 

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• Audain: Earthbound Wings 

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• Lardelli: Eidolon; computer-set 

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• Four Works by Dylan Lardelli 

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• Dylan Lardelli 

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

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• Norris: From The Lonely Margins of The Sea; computer 

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• Norris: From the Lonely Margins of the Sea; computer-set 

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• Norris: From the Lonely Margins of the Sea; computer set 

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• Norris: From the Lonely Margins of the Sea; computer set 

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• Michael Norris: From the Lonely Margins of the Sea 

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This music was written as a study in the technique of hammer-ons and pull offs for my whisky drinking companion Owen Moriarty. It is just as important for the player to have a command of these techniques as it is for the drinker to have a companion, thus the exchange was an obvious one.

• Hogan: Hammerowen; computer-set 

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• Owen Moriarty - Solo and Ensemble Guitar 

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• Norris: Honk!; computer-set 

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• Norris: Honk!; computer-set 

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• Norris: Honk!; computer-set  Year: 2003 

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

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• Becker: Introit - Come to Christ; facsimile 

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• Baroque Voices - Massive!  Year: 2006 

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• Samuel Gray: Live at Jazid 

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