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cor anglais, 2 violins, viola, cello, double bass

‘faccee’ is composed as a set of loosely related, programmatic movements which portray different moods through the day. ‘faccee’ is intended as a lighter work of chamber music with elements of mystery, humor, charm and satire.

‘Dawn’ begins the work slowly, with the darkness and solitude of morning blossoming full fruit into daylight, then relaxing into the day. Movement two, ‘Boogie’, quickens the pace and is akin to experiences while walking the streets of the city. The further one travels, the more activity one encounters until reaching the heart of the city, where a rousing canon surrounds you with people and congested traffic. Then, suddenly, you arrive at your destination and with one last exclamation are in the door.

‘Daydream’ is a brief visit into the realm of nostalgia and sentiment, with a pleasant, recurring melody in the english horn and violin. What better for a finale than an old-fashioned ‘galop’ ? This ‘galop’ is, rather, a musical pun on the Viennese version. The ‘Galop’ gives way to the ‘Trio Satirico’ which pokes fun at traditional trios with a duple/triple reconfiguration of 9/8; making for a gawky feel. Then on to the ‘Finale’ where themes from earlier in the day are revisited in a whirlwind finish.

• Stabler: faccee; computer-set 

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• Stabler: faccee; computer-set 

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• Stabler: 'faccee'  Year: 2002 

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Percussion: 2 bongos, 2 Congas, small tom; also requires: calligraphic paintbrush, large sheet of paper, white sand, two palm-sized black rocks

• Norris: 14 Islands; computer set 

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• Norris: 14 Islands; computer set 

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• Michael Norris: 14 Islands; audio 

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• Two works by Michael Norris 

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alto flute/piccolo; clarinet in A; bass clarinet/small bamboo chimes to hang on music stand; horn in F/small bamboo chimes to hang on music stand; bass trombone/small bamboo chimes tohang on music stand; percussion: 2 suspended cymbals, hihat, sizzle cymbal, 3 toms, medium bass drum, 3 woodblocks, three sets of maracas, bamboo or wood chimes; harp; violin;viola; cello and bass

In this work, cycles of accumulation and decay move in broad wave-like gestures, recalling the sea. I am fascinated by the potency of the tiniest gesture, syllable or phoneme. Having no ‘meaning’ in itself, the syllable ‘and’ is weightless and transient, yet holds enormous power to link ideas; to create anticipation/momentum. It is like a wave bearing thought towards utterance. …and…11 was composed for, and is dedicated to, Chachi and Lontano.

• Ker: [...and...11]; computer set 

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• Ker: ...and...; computer set 

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• NZ Women Composers Vol. 2 

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• Dorothy Ker: ...and...  Year: 2002 

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• diffracted terrains: Chamber Music of Dorothy Ker  Year: 2007 

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clarinet in A (doubling E flat, C or B flat), bass clarinet, horn, bass trombone, cello, double bass

Many painters — most notably Francis Bacon — have produced series of satellite “studies” around one subject. While these works are complete and interesting in their own right, they also function as commentaries and footnotes on each other, and on the cluster of preoccupations they share, as much as on the “main” paintings for which they are nominally studies. Composers do this sort of thing less often, but it was with this idea of a study in mind that I set out to write a miniature “clarinet concerto” for Gretchen Dunsmore and 175 East some eight years ago.

The piece makes use of the contrasts between the generally light and lithe clarinet writing and the weightier interjections of the ensemble, and the repeated attempts of the soloist to escape the “gravitational pull” of the ensemble could be seen as one narrative strand in the work.

While a study for voicing doubts is a complete composition it was also a testing ground for ideas which have been incorporated into Rank and File Movements, a much larger clarinet concerto for Gretchen, which will be finished in early 2010.

James Gardner

• Gardner: a study for voicing doubts; computer set 

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• 175 East Vol. 8 

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• James Gardner: Selected Works 

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flute, clarinet, bass clarinet, bass trombone, cello and bass

There are two main forces shaping this work, which could be thought of as an “internal” force and an “external” force. The internal force is a process of growth that begins with a complex event heard towards the end of the composition. Variations of this event fan out in all directions across the work’s temporal space, ensuring that every event has a relationship, however distant, to every other event. The detailed crafting of each event, with its constant microscopic fluctuations in pitch and timbre, reflects the detailed activity in a spectral analysis of the title of the piece, a line from one of Ezra Pound’s ‘Cantos’. This analysis is expanded to have the same duration as the composition, so that the entire work is, on one level, an elaboration of a few seconds of spectral activity. The harmonic content of the spectrum is not, however, reflected in this rendering, but rather the morphology, with its evocative twistings, compressions and expansions. The harmonic organisation forms a third structural layer. It originates in the first five odd numbered partials of the natural harmonic series, built on the log ‘G’, an octave below the bass clef. Each partial forms the centre of a narrow band of pitches, from which the “melodic” material is drawn. Ultimately, however, the resulting contrapuntal writing is largely submerged in the surface timbral activity, as the other two structural layers tear at and distort its fabric.

• Hall: and the snow's lace is spread there...; facsimile 

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• Neville Hall: and the snow's lace...; audio 

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• Two Works by Neville Hall 

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• Ross Harris: At the Edge of Silence - hardcopy score & parts 

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• Ross Harris: At the Edge of Silence - downloadable PDF 

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• Ross Harris: At the edge of silence; audio 

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• IAMIC Concert 2006 with Gageego! 

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• Stroma plays 'At the Edge of Silence' by Ross Harris 

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• Premieres 2004, Volume 3 

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Flute doubling alto flute; clarinet doubling bass clarinet; horn; bass trombone; percussion (3 tom toms, 2 bongos, 2 suspended cymbals, crotales, vibraphone, bell tree); cello; double bass and bass clarinet solo

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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1. The first movement illustrates the plethora of fish to be seen at the Aquarium at feeding time. There are small fish, big fish, colourful fish and plain fish. I have tried to mimic the darting movements of the small fish with quick high grace notes and tremolos. In contrast, the darker notes of the oboe and the piano represent the bigger, slower and brooding fish.

2. Watching the harbour in the morning is one of the most serene and beautiful experiences one can have in Barcelona. One morning I visited the harbour when the skies were clear and the sun was sparking on the ocean, which was a most brilliant blue. The area was almost deserted; it was early. I have captured the tranquillity of the moment with an intimate trio of cello, violin and clarinet.

3. Finding large as life puppets in the square outside the Cathedral was a delight. I imagined them to be alive, moving jerkily, interacting and dancing a little in an empty space.

4. Stepping out of the Metro and being confronted by La Sagrada Familia was a momentous experience. I have chosen two aspects of what I felt for this movement. Firstly, there is the foreboding nature of the building; the way it looks as though it were melting, twisting and almost lurching as it towers over you. Secondly, there is the light and peace that radiates from it through the optimistic spires and delicate bird decorations.

5. The fun side of Gaudi can be seen in the fairytale-like Park Gell, which is full of excitement, laughter and maybe (if you’re lucky) at bit of dancing.

Barcelona Postcards received a Honorific Mention Award in the 2005 Frederic Mompou International Award for the Young Composer Competition of the Joventuts Musicals de Barcelona.

• Toan: Barcelona Postcards; computer set 

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• Toan: Barcelona Postcards; computer-set 

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flute, clarinet, piano, violin and cello

Human beings have a fragile relationship with reality: our beliefs are formed from a disordered stream of sensory impressions that flood our synapses. Although our brain is normally very good at packaging this into something that can get us through the day, certain pathological circumstances reveal the tenuous nature of reality. Blindsight is a condition in which a patient cannot “see” visual stimuli, and yet their body instinctively senses and reacts to them. This suggested a musical image: the two winds recite simple chordal gestures, which the strings reflect through a distorting mirror — “sensing” without “seeing”. The piano acts as an intensifying agent, sending flurrying signals down tangled pathways, and releasing static charges through the system.

blindsight was written for the Pierrot Lunaire Ensemble Vienna, as part of the Sammlung Essl Music Series 2009.

• Michael Norris: blindsight - downloadable PDF 

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• Michael Norris: blindsight - hardcopy score & parts 

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• Michael Norris: Blindsight; video 

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• Michael Norris: blindsight 

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• Michael Norris: Three works by Michael Norris 

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