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• 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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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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• Toan: Barcelona Postcards; computer-set 

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• Toan: Barcelona Postcards; computer set 

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This work might be seen as a survey, from one end to the other, of a symmetrical, double-ended knot, where one thread is made of a sonic imagining of wire and the other of silk. Myriad loops and elbows, dippings under and over and threadings of eyes give rise to possibilities for certain meldings of materials, collisions of density, flavour and colour. Considered one of the most secure methods of tying two lines together, the Carrick Bend, like all bend-knots, has loose ends…

Carrick Bend was commissioned by Stroma, with funding from Creative New Zealand. It was premiered by Stroma (cond. Hamish McKeich), with saxophonist Lars Mlekusch, in Wellington in 2005.

• Watson, C.: Carrick Bend; computer set 

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• Watson, C.: Carrick Bend; computer-set 

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The starting point for this piece was some dramatic cloud formations I experienced while in Morrinsville, near Hamilton. It was a brilliant sunny day, with occasional huge and interestingly shaped clouds floating past. They provided inspiration for the opening texture for my piece Clouds, which is flowing and slowly unfolding in character.

Clouds can assume many different shapes and characters and this is reflected in my piece. There are stormy ideas with strong rhythms, jagged ideas built from small motifs, mysterious ideas that suggest darker clouds, bright climaxes that suggest the sun bursting through.

The solo trombone is like a small aeroplane, weaving its way through the clouds and enjoying a rather turbulent journey. Its part is soloistic but integrated into the band texture and often underpinned by the percussion, who have an important role in sustaining the momentum of the piece. Near the end the soloist has a brief cadenza before the music rises to a rumbling climax. This passage finally disintegrates, as the clouds disperse.

Anthony Ritchie

• Ritchie, A.: Clouds, op.114; computer-set 

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• Ritchie, A.: Clouds, op.114; computer-set 

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• GUNG-HO - Virtuoso Works for Trombone - David Bremner  Year: 2009 

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• Bowater: Declination Zero; computer set 

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• Bowater: declination 0 (zero); computer set 

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• 175 East: The Sleep of Reason and Declination Zero 

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• Lardelli: Duo; computer-set 

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• Lardelli: Duo; computer set 

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• Three Generations 

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• Speak: Gu Ta; computer set 

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• Jeroen Speak: Gu Ta 

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• Chris Adams: Mass for Double Choir - hardcopy score 

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• Chris Adams: Mass for Double Choir - downloadable PDF 

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• Williams, M.: Piercing the Vault; computer set 

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• Williams, M.: Piercing the Vault; computer set 

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