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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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Tempest was the First Equal Winner of the 2005 Lilburn Trust Student Composition Awards at Victoria University of Wellington.

• Eastwood: Tempest; computer-set 

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• Eastwood: Tempest; computer-set 

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‘Ten Bells for Turning Forty’ was written as a fortieth birthday present for Andrew Sparling, whose playing I have enjoyed and admired since I first heard him perform at Huddersfield in 1992. The ‘Ten Bells’ of the title, represented in a crassly literal-minded way in the performance, is a pub on the corner of Commercial Street and Fournier Street, where Andrew’s birthday gathering was to have taken place. The clarinet music consists of ten gestures which are chosen by the player from a repository of twenty-two variants of seven basic types (“tropes”) given in the score, according to a strict set of rules. The percussionist has ten fixed tropes, the first six consisting of a single bell strike. The piece is conceived as a sort of enigmatic game or ritual, with the players obeying arcane rules.

• Gardner: Ten Bells for Turning Forty; computer set 

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The technique of “mosaic” is the construction of an image from numerous small tiles. These tiles, called “tesserae”, are separated by the “interstices” (the spaces between the tiles, usually filled with grout). In this piece—an homage to Luciano Berio—tiny fragments are taken from his Sequenza IX for clarinet to form the tesserae of the clarinet part. But they appear in a completely reordered and recontextualised sequence. At the same time, the other instruments resonate, echo and sustain the clarinet, in a manner similar to Berio’s Chemins series. Eventually the interstices enlarge and swallow up the tesserae. Timbral and harmonic distortions merge the two layers, until they decay into sonic abstraction. This piece was written for the Acanthes Festival 2007, and was premiered by members of the Luxembourg Philharmonic Orchestra.

• Michael Norris: tesserae...interstices - hardcopy score 

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• Michael Norris: tesserae...interstices - downloadable PDF 

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• Michael Norris: tesserae...interstices 

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The Sleep of Reason takes its name from a print by Goya. While the resonances of the full quotation from Goya “The sleep of reason brings forth monsters” might be seen to have wide ranging political and religious implications today, one could just ask the question – is this a piece of music conceived and articulated without reason? and if so – is it a monster?

• Harris: "The Sleep of Reason..."; computer-set 

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• Harris: The sleep of reason....; computer set 

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• Ross Harris: The Sleep of Reason...; video 

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• 175 East: The Sleep of Reason and Declination Zero 

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• Harris: The Sleep of Reason... 

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• de Castro-Robinson: These Boots (are made for dancing); facsimile 

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• De Castro Robinson: These Boots(are made for dancing); facsimile 

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• Eve de Castro-Robinson: These Boots (are made for dancing); audio 

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• 175 East Vol. 8 

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• 175 East Vol 7 

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• Andrew Uren: Steep Steps  Year: 2011 

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In the first and last movements, ‘Prologue’ and ‘Epilogue’, a ‘harmonic field’ upon which the piece is largely based is announced and subsequently commented upon. The four middle movements combine different melodic strands and timbres to create distinctive musical textures. In the second movement, simple repeated phrases alternate and overlap; movement three is livelier, with quickly interlocking triadic harmonies from all three instruments. The fourth movement is dedicated to the memory of Rev. Ray Oppenheimer – a mirror chorale and refrain featuring the lower register of the celesta, while in the fifth movement pizzicato double bass and guitar come to the fore in dance-like motion.

Composed for guitarist Kazuhito Yamashita and first performed in his concert of chamber works featuring guitar in the Kammer Virtuosen Zyklus at JT Art Hall, Tokyo, in April 2001.

• Carey: Trio for Guitar, Double Bass and Celesta; facsimile 

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• Carey: Trio for Guitar, Double Bass and Celesta; facsimile 

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During my stay in Toronto, for a brief time I was able to make use of the piano in a local church in return for singing with the choir on Sundays- as they were, at that stage, short of members with good music reading skills. Although a short-lived arrangement, it was long enough for the contents of the hymnal in the chapel to inspire this Trio on Hymn Tunes. The piece is in four freely composed movements; each is based on one or more hymn tunes, the basis for my investigations being sometimes the melodic aspect of the hymn, and sometimes the harmonic one. Composed for Enamble 3 of Mexico City. Dedicated to my mother Alison Carey, from whom I have had the experience of hearing and singing hymns such as these from an early age.

• Carey: Trio on Hymn Tunes; facsimile 

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• Carey: Trio on Hymn Tunes; facsimile 

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• Carey: Trio on Hymn Tunes; facsimile 

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Twitter portrays the sounds of birds that I heard in Western Park, Freemans Bay while running my dog. In this heightened reality you can hear a plethora of birds, ranging from small chirpy sparrows and mynahs to large more sonorous pigeons and magpies. Often the exuberant character of my dog slips in as well while he chases after birds. Throughout the piece I have used chromatic melodies and added note chords to depict the diverse pitches made by birds and syncopated rhythms to reflect the erratic nature of bird song.

The first movement has a bouncy feel to it. There is a reoccurring motif played by the soprano saxophone that is present much of the way throughout the movement. The added note chords and syncopated rhythms give off a jazzy vibe towards the end. I imagine the birds to be having a good time despite being teased by my Yorkshire terrier.

I have titled second movement the birds at at dusk. The movement opens with birds twittering which is characterized by flutter tonguing and sustained notes. Out of this comes a languid melody played by the saxophone. As time progresses the melody is passed around the instruments and the supporting notes grow into chords. The movement ends as the birds roost.

An active and insistent character saturates the final movement. The birds are darting around in all directions fighting over crumbs left by school kids at lunchtime and my buoyant companion is never out of the action chasing after them as they take flight. The movement is dominated by florid runs by the entire ensemble and syncopated rhythms that provide an unsteady platform for the pandemonium.

Robin Toan

• Toan: Twitter; computer-set 

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Scored for guitar, flute and Bb clarinet, …vers libre… (meaning “free verse”) threads through a succession of musical landscapes, punctuated by colouristic events and frequent upheavals in pulse (governed by metric modulations), never pausing to cast an eye backwards. The work was premiered at the Nelson Composers’ Workshop in 2002 and has received subsequent performances at the 2003 ACL Forum in Seoul, Korea, and at the neue musik aus neuseeland festival at the Musikhochschule Lübeck in 2006. Dylan Lardelli has played the guitar part in all performances. …vers libre… is published by Waiteata Press and appears on a CD of works by emerging New Zealand composers.

• Watson, C.: ...vers libre...; computer-set  Year: 2003 

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• Chris Watson: …vers libre…; video 

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• Three Generations 

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• Waiteata Collection of New Zealand Music Vol. 7 - Emerging Composers  Year: 2003 

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