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• Hall: beasts like shadows in glass; facsimile 

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The starting point for this piece was some dramatic cloud formations I experienced while in Morrinsville, near Hamilton. It was a brilliant sunny day, with occasional huge and interestingly shaped clouds floating past. They provided inspiration for the opening texture for my piece Clouds, which is flowing and slowly unfolding in character.

Clouds can assume many different shapes and characters and this is reflected in my piece. There are stormy ideas with strong rhythms, jagged ideas built from small motifs, mysterious ideas that suggest darker clouds, bright climaxes that suggest the sun bursting through.

The solo trombone is like a small aeroplane, weaving its way through the clouds and enjoying a rather turbulent journey. Its part is soloistic but integrated into the band texture and often underpinned by the percussion, who have an important role in sustaining the momentum of the piece. Near the end the soloist has a brief cadenza before the music rises to a rumbling climax. This passage finally disintegrates, as the clouds disperse.

Anthony Ritchie

• Ritchie, A.: Clouds, op.114; computer-set 

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• Ritchie, A.: Clouds, op.114; computer-set 

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• GUNG-HO - Virtuoso Works for Trombone - David Bremner  Year: 2009 

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This work began as an exercise in the use of L-Systems as a compositional tool, inspired by Hanspeter Kyburz’s Cells and Michael Norris’ research into methods of using these patterns. L- Systems are algorithms designed by the biologist Aristid Lindenmayer to imitate natural processes of growth and decay and can be musically interpreted in various ways. Three different L-Systems were used for this work; the example on the following page is that of the first movement. Here, and similarly in the third movement, each letter of the pattern was substituted with a different musical gesture. Using gesture rather than specific motifs allowed more compositional freedom to develop ideas while working within the set pattern. In order to create a more lyrical second movement, I experimented with substituting pitch class sets to the pattern, rather than gestures. As a result, the musical growth that is evident in the other movements is not so clear. No mathematical system can be adhered to precisely without a loss of musicality, hence the L-systems I used quickly became macrostructural. These patterns also reach a point where there is too much self-similarity and they must be abandoned in favour of musical intuition. The title refers to the Fibonacci series. Many L-systems (although not the following example!) bear a relationship to this in the length of each new generation.

• Morgan: Encoded in the Ancestry of a Male Bee; computer-set 

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• Morgan: Encoded in the Ancestry of a Male Bee; computer-set 

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• Works by Rachael Morgan 

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• Margetic: Intrusion; computer set 

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• Margetic: Intrusion; computer set 

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• Karlo Margetic: Intrusion; audio 

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• Harris: Paoro (to echo); computer-set 

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• Harris: Paoro (to echo); computer-set 

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• Rimmer: Symphonic Triptych; computer-set 

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• Rimmer: Symphonic Triptych; computer-set. 

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• Rimmer: Symphonic Triptych; computer set 

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• John Rimmer: Symphonic Triptych  Year: 2002 

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• Rimmer: Thermal Labyrinths; computer set 

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• Rimmer: Thermal Labyrinths; computer set 

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• Rimmer: Thermal Labyrinths; computer set 

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• John Rimmer: Thermal Labyrinths 

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• New Zealand Selection 1 

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• Premieres 2004, Vol. 7  Year: 2003 

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Uriel is one of the four archangels, along with Michael, Gabriel and Rafael. Each has their particular realm in the human equation: Michael to the ego, Rafael to the emotions, Gabriel to reason. Uriel is somewhat deeper and more mysterious. As the keeper of spiritual fire, he represents the subconscious, and appears to manifest as an unseen and powerful force for change.

Nowhere is this more apparent than in the Tarot, where each archangel has his seperate card. The visible angels preside in traditional forms. Rafael blesses the Lovers, Gabriel calls the dead to Judgement. Michael calmly masters himself in Temperance, a gentler image than the more common one of spearing a dragon. Uriel alone is unseen; the Tower, with its lightning-struck downfall reveals him only in the rain of yod, a shower of flame from the heavens.

Yet downfall is necessary for new life. Uriel shatters, suddenly, the illusions and pretensions of majesty in order to clear a path for wisdom. Uriel makes sacrifice possible, and hope for change. Michael balances passions; Uriel breaks them. Rafael sanctifies emotion; Uriel transcends it. Gabriel judges; Uriel forgives utterly, and bids farewell.

• Goss: Uriel's Flame; computer-set 

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• Goss: Uriel's Flame; computer-set 

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• Goss: Uriel's Flame; computer-set 

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