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This piece arose out of collaboration with multi instrumentalist, Adam Page. The fixed media track was composed as a “virtual ensemble” to accompany a soloist. The title “Crunch Time” is representative of the manic and stressful character of the piece.

• Briar Prastiti: Crunch Time - downloadable PDF & backing track 

  Score and parts | Pdf - computer set
  
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• Briar Prastiti: Crunch Time - hardcopy score & CD 

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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 

  Full score | Hardcopy - computer set
  
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• Taylor: deepwalker; computer set 

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• Alex Taylor: deepwalker; audio 

  Media on Demand | Embedded
  

• Alex Taylor: deepwalker 

  Digital sound file - MP3
  

The title is quoted from Nigel Cox’s novel The Cowboy Dog. In the novel, there is a poetic contrast between the constant presence of the landscape, and an elongated sense of time and space, set against the smallness of the concerns of the human characters. The music contains a similar juxtaposition of small detail against a spacious backdrop, and a warping of the listener’s perception of musical time.

The stars like years is dedicated to the New Zealand Clarinet Quartet, and I am especially grateful to the Quartet for their close involvement in the compositional process. There are varying degrees of notational freedom in the score, from very loose rhythmic specification, to sections which are improvised using sets of notated gestural materials. The music derives much of its energy from the tension between spontaneous performance and the written-out structural framework.

The stars like years was commissioned for the New Zealand Clarinet Quartet, with funding from Creative New Zealand.

• Brownlee: The stars like years; computer set 

  Score and parts | Pdf - computer set
  
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• Brownlee: The stars like years; computer set 

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• Philip Brownlee: The stars like years; audio 

  Media on Demand | Embedded
  

Having heard Adrianna Lis in concert, I was excited by the prospect of writing for her and was thrilled to contribute a piece for her CD Dialogue/Rozmowa produced by Atoll Records. We discovered in subsequent conversations that we shared a common interest in WWII history and decided there and then that this should be the central idea. The horrors of WWII remain very much part of the Polish collective memory. Like many of her countrymen Adrianna does not wish for the events of WWII, and in particular the treatment of the Polish people, to be forgotten or diluted by time, thereby diminishing the significance. When we Fell is a reflection of this idea. A fall from grace; a fall from humanity; a falling away from oneself. I have tried to imbue in this piece a sense of nostalgia, a hint of the military and in parts childlike innocence that in a strange way highlights the dismay at the loss of humility. The folk-like melody that runs through is an adaptation of the Polish song To Ostatnia Niedziela composed by Jerzy Petersburski (1936) – a nostalgic tango describing the final meeting of former loves who are parting, which had the dubious honor of often being poled while Jewish prisoners were led to their deaths in the gas chambers. The vocal track is recording of some of the text from this song but toward the end a passage from Nietzsche’s Thus Spake Zarathustra is quoted in Polish.

Michael Williams

• Michael Williams: When We Fell - downloadable electroacoustic part (mp3) 

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• Michael Williams: When We Fell - hardcopy score & electroacoustic part (CD) 

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• Michael Williams: When We Fell - downloadable PDF 

  Full score | Pdf - computer set
  
  $16.00
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• Adrianna Lis: Rozmowa / Dialogue  Year: 2012 

  CD
  
  $27.00
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