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Au began as a series of musical reflections on the Auroroa with pitch material based on the name of bass clarinettist Andrew Uren whose initials provide the title. This title, ‘Au’ is also the abbreviation for ‘aurum’, the Latin word for gold. As I was composing I realised that I was dealing with golden qualities not only of the sounds in the piece but also of the musicians in the ensemble 175 East who would be giving its first performance. This was particularly the case with the soloist Andrew Uren whose adventurous bass clarinet playing has revolutionised the way in which composers in New Zealand think about the instrument.

The work was commissioned by Andrew Uren with funding provided by Creative New Zealand and was first performed on 15 September 2002 at The Space, Wellington, by Andrew Uren and ‘175 East’ conducted by Hamish McKeich.

• Rimmer: Au; computer-set 

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• Rimmer: Au (hire set); computer set 

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• Rimmer: Au; computer-set 

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• John Rimmer: Au; audio 

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• 175 East: Microchix and newer stuff 

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• John Rimmer: Au  Year: 2002 

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• Rimmer: 'Au' – concerto for bass clarinet and ensemble  Year: 2002 

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• Andrew Uren: Steep Steps  Year: 2011 

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These twenty (mostly very brief) bagatelles were among the first pieces I wrote while on a one-month residency at the Visby International Centre for Composers in Gotland, a Swedish island in the Baltic Sea, in October 2005.

The musical material I use in these Bagatelles I feel relates to my being in Europe (albeit a rather far-flung part) for the first time, and my subsequent reflection on my ‘European’ classical musical upbringing on the other side of the world in New Zealand. At times the music veers into irony, such as the violin caught in a maze of its own making (bagatelle 7) or the pianist unable to stop her rapid motions at either end of the keyboard (no. 14), sometimes to a laid-back jazzy feeling (no. 11) or quasi-improvisation (no 10); there are dance-like numbers too (4 and 19). The set ends with the longest bagatelle, a chromatic meditation over the open fifths of the cello and low register of the piano.

• Carey: Bagatelles; facsimile 

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dirty pixels was written in response to two stimuli: an exhibition of the same name (curator, Stella Brennan) in the Adam Art Gallery featuring New Zealand artwork of a certain rough-hewn, ‘gritty’ nature; and hearing the work Jagden und Formen by German composer Wolfgang Rihm, an unremittingly wild and preposterous discourse of extremes.

These two stimuli caused something of an aesthetic dilemma: leaving behind my rather French fondness for euphonious washes of sound, I became interested in the characteristics of ‘roughness’ and ‘raggedness’, and in how a ‘pure’ conceptual scheme, such as the quite systematic construction I had formulated just prior to starting this piece, became ‘dirtied’ by intuition, by the exigencies of the material and by the reality of having it performed.

Michael Norris
Notes taken from The NZTrio – Spark Morrison Music Trust MMT2066

• Norris: dirty pixels; computer set 

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• Norris: dirty pixels; computer set 

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• Michael Norris: Rays of the Sun .. and Dirty Pixels 

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• New Zealand Trio - Spark  Year: 2004 

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This one movement work for chamber ensemble and Indonesian zither was composed especially for to Dody Satya Ekagustdiman who was artist in residence 2003 at Victoria University School of Music. The score is mostly graphic notation.

• Harsono: Geloria; facsimile 

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• Harsono: Gelora; facsimile 

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• William Harsono: Gelora and Death, the Hell 

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‘Intaglio’ is a printmaking technique in which an image is etched or engraved on the surface of a plate. Ink would then be applied to the plate and removed from the surface, leaving ink only in the incisions. The title refers less to the work itself than to the process of composing it, a small insight into my ideas about how material manifests in musical shape. This piece is written in three uninterrupted movements.

• Gendall: Intaglio; computer set 

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• Gendall: Intaglio; computer set 

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• New Zealand Premieres Volume 2 

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• Two Works by Chris Gendall 

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The nacelle is the main body of the top portion of a modern wind turbine, an enclosure housing an electrical generator, power control equipment, disc brakes and a gearbox. Rotating on its tower to constantly face the prevailing breeze and responding to wind force by setting thresholds for propeller speed, the nacelle is the brains of the operation. Nacelle continues my exploration of metric modulation and its relation to the movement and behaviour of machines, though with the added element of a soloist, who steers the music’s path through different tempi as well as defining the direction of the music’s texture and language; the soloist is the brains of the operation. Two cadenzas allow for an escape from the rigours of the metric scheme, where a subjective take on the timing of proceedings is permitted.

In 2003 I lived close to Wellington’s wind turbine and indulged in regular walks to the landmark.

Nacelle was performed in Christchurch, Wellington and Auckland by 175 East in April and May of 2003 with solo clarinetist Gretchen Dunsmore.

• Watson, C.: Nacelle; computer-set 

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• Watson, C.: Nacelle; computer set 

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• Chris Watson: Nacelle; audio 

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• 175 East: Microchix and newer stuff 

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• Selected Works: Utting, Watson, Cree Brown 

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• Chris Watson: Nacelle and Don't Mess with Texas  Year: 2003 

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For several years I had been promising Andrew a new piece for bass clarinet, and previously worked in Vancouver with Barry Truax’s POD system to produce some intriguing granulation files derived from notes played by Andrew. These languished unused until 2003 when I heard some wonderful frogs singing in the middle of the night at Chulalongkorn University of Bangkok, and managed to get some recordings. These two sources, plus some transformed temple bell recordings and a mad chorus of police whistles in evening traffic, provided the source material for the soundscape. I began writing the music for bass clarinet around this soundscape.
Much of the bass clarinet part is composed using a synthetic scale which is different in each octave. Although the end result is an arbitrary invention which pleased me, the original inspiration came from exploring the relationship between the Thai seven note scale and pentatonic scales. I had originally been thinking that Thai percussion instruments might be appropriate for the percussion part, but have since decided that the any available instruments may be used. The first performance used a mixture of ‘junk’ percussion (e.g. bowls, cans and flower pots) and bongo drums, but any experiments are welcome.

• Elmsly: Nocturne; electroacoustic part 

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• Elmsly: Nocturne; computer-set 

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• Elmsly: Nocturne (clarinet part only); computer-set 

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• Elmsly: Nocturne; computer-set 

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• John Elmsly: Nocturne; audio 

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• Two Works by John Elmsly 

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Te Hau o Tawhirimatea is dedicated to Richard Nunns and Bridget Douglas. The music aims to create a space in which the musicians, and the voices of their instruments, may speak together. The musical space is flexible, encouraging spontaneous dialogue between the various instrumental voices. Tawhirimatea, the wind god, child of Earth and Sky, represents powerful elemental forces, but he is also capable of gentle playfulness. Te hau refers also to human breath, the force which animates the wind instruments. From the mingling of breath, sweet voices are brought into being.

• Brownlee: Te Hau o Tawhirimatea; computer-set 

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• Brownlee: Te Hau o Tawhirimatea; computer-set 

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• Te Hau o Tawhirimatea 

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• Selection 05  Year: 2005 

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