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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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In composing Motet for Hildegard, I imagined Hildegard von Bingen communing with nature while singing her song O Virga Mediatrix (O branch who mediates for us) to the universe above. She listens to the planets as they emit their ‘Harmony of the Spheres’ with certain pitches from her song. The nearby Rhine echoes parts of her song in its occasional turbulent displays. She hears a sequence of notes from her song in the strange resonances of an angelic choir and also in an eastern reed instrument. Then she listens to the morning stars singing and is reminded of a passage from the Book of Job. Finally she hears her own voice in the quiet eddies of the river.

The electronic music is based partly on tiny fragments of pre-recorded soprano voice and oboe which are resonated and also split into many grains of sounds. In contrast, the ‘harmony of the spheres’ timbres appear as simple granulated sine tones which move in elliptical orbits..

In the middle of these textures Wendy Dixon’s original recording of Hildegard’s song appears phrase by phrase after which the live soprano and oboe become increasingly florid in keeping with the ornate nature of Hildegard’s song O Virga Mediatrix.

Other medieval aspects are enhanced by intervals such as the perfect 5th sounding at the ends of phrases, by the harmonic style of organum in the opening and closing phrases of the voice and the oboe and also by the structural use of Golden Section and Fibonacci proportions.

The process of basing a piece on an existing song seemed to parallel the work of 15th and 16th century composers who often based their sacred pieces – Motets and movements of the Mass on existing plainsong, hence the title of this piece.

Motet for Hildegard was first performed by Wendy Dixon, soprano and Diana Doherty, oboe in the Recital Hall East, Sydney Conservatorium on 7 December 2008.

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• Rimmer: Motet for Hildegard 

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• Rimmer: Motet for Hildegard 

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An ogee (‘oh-gee’), or cyma reversa, is a type of interior trim, the outline of which resembles the contour of the main thematic idea in this work.

• Watson, C.: ogee; computer-set 

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• Watson, C.: ogee (solo violin part); computer-set 

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• Watson, C.: ogee (solo violin part); computer-set 

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• Watson, C.: ogee; computer-set 

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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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• Te Hau o Tawhirimatea 

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• Selection 05  Year: 2005 

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