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• Eric Biddington - A Piece for Maurice 

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• Eric Biddington - A Piece for Maurice  

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The term “a priori” in philosophy refers to that which is already known or presupposed before any kind of inquiry has taken place.

This piece organises vocal sounds into a specific trajectory and juxtaposes these sounds with electronically manipulated material and recordings of nature and machinery. I recorded speakers of various languages – Polish (Andrzej Nowicki), Japanese (Andy Tate), Russian (Liz Platova), French (Clare Tattersall), Luo (Beryl Matete), English (myself), Dutch and German (Duncan Nairn). These languages were ‘altered’ during the recording process to accommodate the trajectory (from vowel sounds to whole words to consonant sounds to percussive voice sounds to breath sounds) and thus, while the grammar structures of each language still inform the ‘words’ of its speaker, the original meaning of word-combinations is tainted and often lost.

Much of the electronic sounds were created from these voice recordings. Moreover, a lot of only subtle electronic embellishment was employed at times – an aesthetic decision that ‘holds back’ on many opportunities to modify sounds and thus foregrounds the inverted linguistic function of the spoken languages into a purely aural sensation by presenting the recordings as they are, often without electronic manipulation.

• Anton Killin: A Priori 

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• Killin: A Priori; DATA files 

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Ars Moriendi investigates the wide range of the bass clarinet through a four-part chorale texture with microtonal inflections and elaborations. From the tentative material at the beginning flowers more assertive proclamations in the dying moments of the piece.

• Norris: Ars Moriendi; computer set 

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• Michael Norris: Ars Moriendi 

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This is a love note to my parents which fuses musical ideas from Balinese gamelan, Cook Island drumming and alternative popular music. It is song-like and expresses the way that, since burth, we are continually letting go of our parents.

• Little: Continual Letting Go; computer-set 

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• Little: Continual Letting Go; computer-set 

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• Little: Continual Letting Go; Computer Set 

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• Little: Continual Letting Go 

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Ecstasy of Flight captures a moment in the life of a child who longed for a companion in her isolated life in the precise middle of nowhere. She was visited by a powerful dream, of wings, the curling of the wind in the cloud-tops, the perfect peace of the blue land of the sun, and the shape of the world as one great, majestic song. That was the moment in her life from which she could look back later as an adult composer and say that it all began.

• Goss: Ecstasy of Flight; computer-set 

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• Goss: Ecstasy of Flight; computer-set 

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• Thomas Goss: Ecstasy of Flight 

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An ‘event horizon’ in physics is the term given to the point around a black hole at which light can no longer escape, it is a point where our conventional ideas of time and space have little meaning.

Event Horizon is inspired by the work of the Taiwanese artist Wang Pan Youn, in many of his works there are symbols which allude to the unexpressible, points where symbolised and subconcious reality meet in the same space. Often represented by vast planes meeting, the point at which the earth meets the sky, expressed like the edge of an open wound. The apparent stillness and serenity of these paintings is an illusion, in the bottomless depths of these intersecting planes there lies the unexpressible, the very reason why art exists.

This work takes the form of a miniature piano concerto. It is dedicated to professor Bor nien and Forum Music. It recieved its premiere in Zhong Shan Hall, Taipei, October 25, 2010.

Jeroen Speak

• Speak: Event Horizon; computer-set 

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• Speak: Event Horizon; computer-set 

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• Jerone Speak: Event Horizon 

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• Jerone Speak: Event Horizon 

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• Jonathan Besser: Five New York Tone Rows 

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• Besser & Bravura: Turn  Year: 2005 

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This is a piece about the physical and emotional roller-coaster competitive athletes endure in high-level sports. Utilizing the extremely reverberant qualities of squash courts, the composer, through a number of recording sessions and novel microphone positioning, creates an inner sound-world that while somewhat narrative, remains open to interpretation.

• Jason Long: Glassback 

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Egyptian Ella and The Sheik of Araby have always been two of my favourite tunes to play as a jazz clarinetist. I have also dabbled in gypsy-influenced musics with a couple of friends in the folk instrumental band Doris. These influences have certainly come through in this piece, but mainly it was my work in music education that inspired me to write a piece with a Middle Eastern flavour, as among the many students with whom I am blessed is a tenor saxophonist from Turkey. Hence my choice of title, Hazine – pronounced ‘ha-ZEE-nay’ – being a Turkish word.

I have also been working to expand my own modal knowledge, in this piece choosing to explore several darker modes (locrian, for example) with which I am not as familiar as I am with the more common ones (such as dorian). Another scale I have chosen to feature is a Turkish makam.

Yvette Audain

• Audain: Hazine (Treasure); computer-set 

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• Audain: Hazine (Treasure); computer-set 

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• Yvette Audain: Hazine (Treasure) 

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• Yvette Audain: Hazine (Treasure) 

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Like many whakataukī, or traditional sayings, he rimu pae noa conveys a rich range of meanings. Literally, it describes seaweed set in motion by the tide. Metaphorically, it also refers the restlessness of a traveller, and the movement of a whole bed of seaweed in the same current alludes to a group of people working in harmony. This in particular has a strong resonance with the collaborative process from which the piece arose. The instrumental ensemble provides a framework, and a backdrop, for the improvisation of the taonga pūoro. At the same time it attempts to maintain its own identity, in conversation with the solo lines. Precisely specified gestural events are distributed in a flexible rhythmic framework,
which aims at a balance between control and spontaneity. I am deeply grateful to Horomona Horo, for a richly rewarding collaboration, and to Richard Nunns, whose work over many years is a deep source of inspiration.

Philip Brownlee

• Brownlee: He rimu pae noa; computer-set 

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• Brownlee: He rimu pae noa; computer-set 

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• Philip Brownlee: He rimu pae noa; video 

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• Philip Brownlee: He rimu pae noa 

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• Two pieces by Philip Brownlee 

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