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The human brain is capable of remarkable feats of understanding and analysis, yet has trouble simply imagining its own death. Death is our blind spot — we cannot conceive of an end to our perceptions and experiences, so we are forced to invent stories about what we will experience after we die.

As a result, human culture overflows with afterworld narratives, and in some cases these have become rich in specific details, textures and landscapes: afterworlds may be light, dark, watery, icy, misty, subterranean, found in the clouds, in the earth, in the sun, in the moon; they may be places of peace and redemption, or places of violence and damnation.

Michael Norris

• Norris: Exitus; computer-set 

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• Norris: Exitus; computer-set 

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• Michael Norris: Three works by Michael Norris 

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• NZ Premieres July 2008 to June 2009 

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• notes from a journey  Year: 2010 

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Melodic ideas and motifs are derived from a magic square by Renaissance artists Albrecht Durer, which appears on the woodcut called ‘Melancholia’. The first movement is energetic in character, while the second is sad and melancholic, with a slowly rocking idea being suggestive of a lullaby. The third movement is obsessive in rhythm, with a gentler contrasting middle section. After a reflective opening, the finale bursts into a rustic, dance-like mood. Towards the end, various motifs from earlier movements are integrated into the texture and the work ends with a flourish. This is a substantial, yet approachable work for professional musicians.

• Ritchie A.: String Quartet No. 2; computer-set 

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• Premieres 2004, Volume 3 

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• Anthony Ritchie: Octopus  Year: 2011 

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