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NEW YEAR’S RESOLUTION 2010: Stop writing dishonest programme notes.

This work was conceived in the abstract and does not relate to human experience. It does not illustrate the composer’s state of mind, he having suddenly found himself awake in the middle of the night, unable to control his thoughts. While the experience of insomnia, especially when suffered over consecutive nights, can be physically and emotionally crippling, at times the abundance and insistence of multiple streams of unwanted thought (unruly Beta waves) can be, if not pleasurable, then certainly fascinating. This piece does not seek to illustrate this through music, nor does it sonically pose this question: why does the brain seize control of the consciousness and produce such a plethora of unwanted activity that sleep is made impossible and the host becomes miserable?

At times, certain thoughts seem to somehow rise above the melee of insomniac thought and become quite focused and of seeming import, however inane these might seem in the cold light of day. This is not portrayed in the music by infrequent parings-down of texture and emergence of single, insistent motivic ideas. The music doesn’t describe how such thoughts soon get swallowed up as the jumble of thoughts returns and the victim adjusts position once again, glancing desperately at his or her clock radio and resolving hopelessly to try to make yet another attempt at deep breathing and sheep counting work.

The composer could claim that the work is about these things, but that would be a lie; he no longer wishes to construct programme notes after the act of composition that conform to some conceivable extra-musical agenda.

This version of this work is the first of a number of versions, with another swapping cello for viola and another as a solo guitar piece currently projected.

The work was requested by Dylan Lardelli and is dedicated to this increasingly mythic musician.

• Watson, C.: about nothing...really; computer-set 

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• Watson, C.: about nothing...really; computer-set 

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• Watson, C.: about nothing...really; computer-set 

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• Watson, C.: about nothing...really; computer-set 

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• Chris Watson: about nothing...really; video 

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Based on the haunting, low pitched booming call of the kakapo, the world’s largest parrot, this work celebrates the virtual rebirth of this magnificent bird from near extinction through the work of the Department of Conservation in New Zealand

• Rimmer: Kakapo Reborn; computer-set 

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• Rimmer: Kakapo Reborn; computer set 

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• Rimmer: Kakapo Reborn; computer set 

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• Rimmer: Kakapo Reborn; computer set 

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• John Rimmer: Kakapo Reborn; audio 

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• Gardner: Kvetch; computer set 

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• 175 East vol. 3 

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• Gardner: Kvetch 2; computer-set 

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• Taylor: quasi concertino; computer set 

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• Taylor: quasi concertino; computer set 

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Written at the 1986 Cambridge Music School and premiered there, this work utilises flute with 3 percussionists: C# crotale, one timpani, suspended cymbal, vibraphone 4 roto-toms. Two particular uses of glissando occur in the music – the flautist is called upon to execute a tremolo while overblowing to produce an upward rush through the upper harmonics; and the percussionist is asked to place the crotale upside down on the timpani head then to strike the crotale sharply and manipulate the timpani pedal – this causes the crotale pitch to fluctuate.

• Hamilton: Slides 3, 5, 6 and 8; facsimile 

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In my work as a composer I have found bringing together classical and jazz musicians to be a rich and unique way of working. I have experience in both fields and my compositional talent and interest lies genuinely across the two art forms.

This piece has been specifically composed for these performers and their unique sets of skills. Each performer is of a very high calibre and each possesses something special and unique in their playing and approach to music making. Mike Kime and Reuben Derrick often have moments of freedom as they are both accomplished improvisers. Gretchen Dunsmore and Mark Le Roche are classically trained performers with excellent skills and intelligent ears and minds. I knew that each of them would bring something to the work that would be unique and exciting.

More recently my creative interest in movement and form has expanded to contemporary dance and I wanted to involve and include another artistic discipline in this work. Collaborating with Julia Milsom has been an exciting new venture for me. The nature of the sounds within the piece are highly applicable to contemporary dance and have been interpreted and expressed with considerable talent and skill by Julia.

Layers of sound in time is a theme I have developed extensively in the piece. The layers interact, evolve, contrast, compliment, and conflict with each other to create a depth of space and time between them.

The work is an exploration of the timelessness that comes in moments of deep introspection through evocative sounds and movement.

Alex van den Broek

• van den Broek: Still Standing Silent; computer-set 

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• Alex van den Broek: Still Standing Silent; video 

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• Alex van den Broek: Still Standing Silent  Year: 2009 

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• Freed: Wellington Letter; facsimile 

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• Freed: Wellington Letter; facsimile 

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My aim with Woodwinds and Vibes was to create an atmospheric piece, with rich harmonies and an equality of instrumental interaction, but where individual timbres shine through. I chose this combination of instruments because I have a particular fondness for the sound of woodwinds, and for the pure metallic sound of the vibraphone. In visual terms, this piece could be seen as a series of floating images, which emerge into view then disappear. I was influenced especially by the music of Morton Feldman, with its hushed, rarefied sound world, and the simple beauty of single notes.

• Willis: Woodwinds and Vibes; computer-set 

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• Willis: Woodwinds and vibes; computer-set 

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• Willis: Woodwinds and Vibes; computer-set 

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• Willis: Woodwinds and vibes; computer-set 

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A trajectory based piece that begins with tonal melodic material which is then tuned through a pitch class set and then follows through atonal harmony. The process is reversed to bring the piece around full circle. The piece was written instinctively with no material concept but simply a present energy of animal nature or character.

• Briar Prastiti - ζωώδες/zo̱óḏes (‘Animality’) - hardcopy score & parts 

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• Briar Prastiti - ζωώδες/zo̱óḏes (‘Animality’) - downloadable PDF 

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