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• Crehan: At the Breaking Point; computer-set 

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• Crehan: At the breaking Point; computer-set 

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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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This one movement work for chamber ensemble and Indonesian zither was composed especially for to Dody Satya Ekagustdiman who was artist in residence 2003 at Victoria University School of Music. The score is mostly graphic notation.

• Harsono: Geloria; facsimile 

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• Harsono: Gelora; facsimile 

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• William Harsono: Gelora and Death, the Hell 

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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.

• Rimmer: Motet for Hildegard; computer-set 

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• Rimmer: Motet for Hildegard; computer-set 

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• Rimmer: Motet for Hildegard 

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• Rimmer: Motet for Hildegard 

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The march is connected with both military and alternative political gatherings. Trying to understand the form, I’ve been listening to Purcell’s Queen’s Funeral March, the conga playing of Quebec Summit protestors and the strangely military snap of Old Mother Hubbard (performed by the US Air Force Band). Revisiting this nursery rhyme, I was struck by the revolutionary aspirations of the last verse: The dame made a curtsey, The dog made a bow; The dame said, “Your servant,” The dog said, “Bow, wow.”

• Palmer: Mother Hubbard; electroacoustic part 

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• Palmer: Mother Hubbard; computer set 

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• Palmer: Mother Hubbard; computer-set 

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• Palmer: Mother Hubbard; computer-set 

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• Palmer: Mother Hubbard; computer-set 

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• Palmer: Mother Hubbard; electroacoustic part 

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• Music by Juliet Palmer I 

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• Agus and Friends  Year: 2001 

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• McKenzie: Observation; computer-set 

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• McKenzie: Observation; computer-set 

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• Music by Lachlan McKenzie 

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“And from about him fierce effusion roll’d Of smoke and bickering flame, and sparkles dire” John Milton Paradise Lost Book IV Smoke and bickering (or flashing) flame surround Messiah’s chariot “driving into the midst of his enemies” on the third day of the battle against Satan and his Angels. Unable to resist “they leap down with horror and confusion into the place of punishment prepar’d for them in the Deep: Messiah returns with triumph to his Father”. With consignment to “The Deep”, I imagine Satan’s followers must be faced with many conflicting emotions – even nostalgia for their past condition. “Of Smoke and Bickering Flame” comprises eight short movements. The movements are related to each other in pairs after the following pattern: I and VI, II and V, III and VII, and IV and VIII.

• Cresswell: Of Smoke and Bickering Flame; computer-set 

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Piano Trio No. 1 is in three sections.

Section 1 – Bars 1 to 25 The haunting opening theme gives a sense of imbalance and cross rhythm. This, combined with polytonality and energetic counterpoint typifies the wide scope of disparate expression contained in this work. The simple opening figures gain momentum and complexity in bar 2, then slow and slower until the robust introduction of the first of the round themes at bar 4. Varying degrees of counterpoint are juxtaposed in the succeeding phrases, along with the exploitation of three distinct themes in alternating patterns of rounds. The momentum is then diffused, winding down with trills and running semi-demi-quavers into the low bass of the piano alongside ponticello effects in the strings. Unexpected harmonies and intense flourishes are balanced across the timbre of the ensemble. Ultimately runs of harmonic glissandi mark the end of the opening section. The ending purposely engenders a sense of perplexity, of not knowing what next to expect.

Section 2 – Bars 26 to 67 Misterioso Bars 26-40 mark the first sub-section, followed by the second, bars 41 to 53 and the third, bar 54 to 67. Various devices, such as sequences and pauses are implemented to cause the momentum to surge and ebb. The different melodies and underlying contrapuntal fragments are in constant interplay throughout each sub-section. Each individual sub-section has a differing tone and timbre as different ideas come forth and are contemplated. The third section comprises a great fugue which is a quadruple rhythmic elongation of the primary theme from section three (‘Calypso’) that follows. This is treated in four parts contrapuntally, one of which is retrograde to the others. The rhythm gains momentum toward the end of the fugue to propel you into the third section.

Section 3 – Bars 68 to 158 ‘Calypso’ This lively, quick-paced, rambunctious section is hallmarked by virtuosic writing for all the instruments. Though not exactly in the style of a true Caribbean ‘calypso’, the repeated syncopation pattern in the piano gave rise to this title. Elaborate contrapuntal juxtapositions of past themes, with differing harmonies, clash and bounce off each other in a frenzy. The momentum is fuelled by the compelling refrain which first occurs at bar 94 and repeatedly in a chorus at the conclusion of the finale.

• Stabler: Piano Trio No. 1; computer-set 

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• Stabler: Piano Trio No. 1; computer-set 

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• Piano Trio No. 1 

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• Piano trio No. 1  Year: 2002 

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• Norris: Symphony No.1 the mountains...; computer 

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• Norris: Symphony No.1 

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