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cor anglais, 2 violins, viola, cello, double bass

‘faccee’ is composed as a set of loosely related, programmatic movements which portray different moods through the day. ‘faccee’ is intended as a lighter work of chamber music with elements of mystery, humor, charm and satire.

‘Dawn’ begins the work slowly, with the darkness and solitude of morning blossoming full fruit into daylight, then relaxing into the day. Movement two, ‘Boogie’, quickens the pace and is akin to experiences while walking the streets of the city. The further one travels, the more activity one encounters until reaching the heart of the city, where a rousing canon surrounds you with people and congested traffic. Then, suddenly, you arrive at your destination and with one last exclamation are in the door.

‘Daydream’ is a brief visit into the realm of nostalgia and sentiment, with a pleasant, recurring melody in the english horn and violin. What better for a finale than an old-fashioned ‘galop’ ? This ‘galop’ is, rather, a musical pun on the Viennese version. The ‘Galop’ gives way to the ‘Trio Satirico’ which pokes fun at traditional trios with a duple/triple reconfiguration of 9/8; making for a gawky feel. Then on to the ‘Finale’ where themes from earlier in the day are revisited in a whirlwind finish.

• Stabler: faccee; computer-set 

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• Stabler: faccee; computer-set 

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• Stabler: 'faccee'  Year: 2002 

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Percussion: 2 bongos, 2 Congas, small tom; also requires: calligraphic paintbrush, large sheet of paper, white sand, two palm-sized black rocks

• 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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alto flute/piccolo; clarinet in A; bass clarinet/small bamboo chimes to hang on music stand; horn in F/small bamboo chimes to hang on music stand; bass trombone/small bamboo chimes tohang on music stand; percussion: 2 suspended cymbals, hihat, sizzle cymbal, 3 toms, medium bass drum, 3 woodblocks, three sets of maracas, bamboo or wood chimes; harp; violin;viola; cello and bass

In this work, cycles of accumulation and decay move in broad wave-like gestures, recalling the sea. I am fascinated by the potency of the tiniest gesture, syllable or phoneme. Having no ‘meaning’ in itself, the syllable ‘and’ is weightless and transient, yet holds enormous power to link ideas; to create anticipation/momentum. It is like a wave bearing thought towards utterance. …and…11 was composed for, and is dedicated to, Chachi and Lontano.

• Ker: [...and...11]; computer set 

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• Ker: ...and...; computer set 

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• NZ Women Composers Vol. 2 

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• Dorothy Ker: ...and...  Year: 2002 

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• diffracted terrains: Chamber Music of Dorothy Ker  Year: 2007 

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Commissioned in 2000 by the NZTrio, A Feather of Blue takes its title from a phrase in a poem called A View From A Window by New Zealand writer Kevin Ireland. I have always admired the wry humour and brightness of Kevin Ireland’s writing and many years ago set three of his poems for soprano and mixed ensemble. As a kind gesture Mr Ireland sent me a copy of his book of poems Skinning A Fish, and I was particularly struck by the imagery of colours, flowers, feathers and birds in this poem, which illustrates rain pouring down a window pane and giving way to a burst of sunshine after a storm.

Maria Grenfell

• Grenfell: A Feather of Blue; computer-set 

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• Grenfell: A Feather of Blue; computer-set 

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• Grenfell: A Feather of Blue; computer-set 

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• New Zealand Trio - Spark  Year: 2004 

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for violin 1, violin 2, viola, cello, gamelan, narrator and sheng (or oboe)

This work uses four short passages from Canadian composer and ethnomusicologist, Colin McPhee’s famous account of his experiences while living in Bali in the 1930s. A joint composition between Jack Body and Wayan Yudane who composed the gamelan sections. A Creative New Zealand grant assisted the composition of this work.

• Body, Yudane: A House in Bali; computer-set 

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• Body, Yudane: A House in Bali; computer-set 

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• Body, Yudane: A House in Bali; computer-set 

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• Body, Yudane: A House in Bali; computer-set 

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• Body: A House in Bali; computer-set 

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clarinet in A (doubling E flat, C or B flat), bass clarinet, horn, bass trombone, cello, double bass

Many painters — most notably Francis Bacon — have produced series of satellite “studies” around one subject. While these works are complete and interesting in their own right, they also function as commentaries and footnotes on each other, and on the cluster of preoccupations they share, as much as on the “main” paintings for which they are nominally studies. Composers do this sort of thing less often, but it was with this idea of a study in mind that I set out to write a miniature “clarinet concerto” for Gretchen Dunsmore and 175 East some eight years ago.

The piece makes use of the contrasts between the generally light and lithe clarinet writing and the weightier interjections of the ensemble, and the repeated attempts of the soloist to escape the “gravitational pull” of the ensemble could be seen as one narrative strand in the work.

While a study for voicing doubts is a complete composition it was also a testing ground for ideas which have been incorporated into Rank and File Movements, a much larger clarinet concerto for Gretchen, which will be finished in early 2010.

James Gardner

• Gardner: a study for voicing doubts; computer set 

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• Gardner: a study for voicing doubts; computer-set 

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• 175 East Vol. 8 

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• James Gardner: Selected Works 

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• Nigel Keay: Adagietto Antique; audio 

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• Nigel Keay: Music for Small Groups  Year: 2011 

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A commissioned work to close the Silencio/Rita Angus Show at the Christchurch Art Gallery in July 2009.

• Alex van den Broek: After Lilburn 

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piccolo, 3 flutes, 3 oboes, 4 clarinets, bass clarinet, 2 alto saxophones, tenor saxophone, baritone saxophone, bassoon, 2 horn in F, 3 trumpet, 2 trombones, euphonium, tuba, string bass, timpani and percussion

An Emily Dickson Suite takes the form of nine vignettes inspired by the eight poems. I chose these particular poems not to fulfill any kind of programme or theme, but because they were the ones that spoke most strongly to me in musical terms at first reading.

In order to get to know the poems I initially set them as if the choir and then used the wind ensemble palette to better capture the contrasting moods and spirit of each poem. in most cases it is still possible to hear clearly the patterns of the words within the melodies. So in a real way these vignettes are ‘songs without words’. Dickson did not give her poems titles. However I have titled each of the vignettes from the first line of each poem.

Christopher Marshall

• Marshall: An Emily Dickinson Suite; computer-set 

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“I enjoyed playing the first performance of ‘An Irksome Vengeance’ with Yvette. The piece explores quite complex rhythmic patterns at a high level of expertise, calling to mind jazzy and folk-type drive with well-executed lyrical connections. The audience seemed to relate warmly to the work, so I think it is well deserving of future airings." – Katherine Hebley, cellist, Auckland Philharmonia Orchestra and 175 East

This piece was largely informed by my involvement in the Auckland Philharmonia Orchestra’s Remix the Orchestra courses, during which fascinating syntheses of classical and hip-hop musics are created.

I have an all-encompassing view of music and have never shied away from influences outside the ‘classical’ genre: in this short work can also be heard a fleeting post-grunge-informed bassline and maybe, even, a slight tinge of progressive rock.

It recently occurred to me that many of us have a rap song from our formative years to which we know, if not ALL the words, at least most (often entirely despite ourselves!). Upon rediscovering Monie Love’s It’s a Shame (chorus originally recorded by the Spinners and written by Stevie Wonder), the phrase ‘an irksome vengeance’ jumped out at me from the lyrics.

Upon catching up with a former mentor prior to the composition of this work, I was reminded of the concept of a ‘groove-based’ piece, and to this end I have tried not to let the basic pulse abate for too long at a time, so as to create as much continuity as possible.

Yvette Audain

• Audain: An Irksome Vengeance; computer-set 

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• Yvette Audain: An Irksome Vengeance 

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