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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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De humani corporis fabrica, a 16th-century anatomy textbook by Andreas Vesalius, was an important step in the Renaissance advancement of medical and anatomical knowledge. Divided into seven chapters, the book groups the myriad elements of the body into seven broad categories. This work for solo clarinet, divided into seven movements, responds to these categories through gestures, energy profiles and structural processes that take their cue from Vesalius’s taxonomy:

Book I: The bones and the ligaments that interconnect them
Book II: The ligaments and muscles, instruments of voluntary and deliberate motion
Book III: The series of veins and arteries throughout the body
Book IV: The nerves
Book V: The organs of nutrition and generation
Book VI: The heart and organs serving the heart
Book VII: The brain and organs of sense

Quite apart from the intertextual references, however, the extreme demands of the music heighten the role of the performer’s own body as a site for the literal embodiment of the physiological processes described in the text.

• Norris: De corporis fabrica; computer set 

  Full score | Hardcopy - computer set
  
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• Norris: De corporis fabrica; computer set 

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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 

  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
  

This piece was inspired by scenes from Shakespeare’s Macbeth featuring Hecate and the three witches: the cauldron scene in which they list their dastardly collection of ingredients, and their visions of Macbeth and his self-induced demise. The performers are required to produce screams and shrieks; mutterings and hissings; boilings, bubblings and grumblings; sighs and groans; squeaks, puffings and vocal effects; as well as playing a recurring diabolical dance.

Many thanks to the wonderfully adventurous and magnificently virtuosic trio of Andrew Uren, Gretchen Dunsmore and Donald Nicholls for requesting this piece.

• Scholes, C.: The Wyrd Sisters; computer-set 

  Score and parts | Pdf - computer set
  
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• Scholes, C.: The Wyrd Sisters; computer-set 

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• Scholes, C.: The Wyrd Sisters; computer-set 

  Score and parts | Hardcopy - computer set
  
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• Scholes, C.: The Wyrd Sisters; computer-set 

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• Claire Scholes: The Wyrd Sisters  

  CD
  

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) 

  Part - recorded | Digital sound file - wav
  
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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 

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• Adrianna Lis: Rozmowa / Dialogue  Year: 2012 

  CD
  
  $27.00
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