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• Gardner: ever not quite; computer set 

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• Gardner: ever not quite; computer-set 

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• Hulford: Fascicle; facsimile 

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• Hulford: Fascicle; facsimile 

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“The boundary between collection and fetishism is mediated by classification and display in tension with accumulation and secrecy.” Two musical strands run virtually throughout this short piece, sometimes clearly differentiated, at other times more obscure and confused, but always at some level presenting an opposition between an ‘organic’, accretional layer and an ‘inorganic’ abruptly changing one. This opposition can operate not only at surface level – as it does at the beginning, when two highly differentiated instrumental combinations are presented, each with their own characteristic modes of behaviour – but also at a subcutaneous level, when applied to various ways of generating or modifying the basic material. These concerns form only the technical armature and implementation of the piece, of course, and much of the original musical imagery was suggested by Borges’ short story The Circular Ruins.

While giving the obligatory (questionable?) disclaimer about the piece in no way being programmatic, much of the mood and atmosphere of the story was certainly in my mind during the initial sketching stages, and it seems to me that its central conceit – one human dreaming another into existence, by sheer will – is a marvellous metaphor for the act of composition.

• Gardner: Fetish Effigies; computer-set 

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• Gardner: Fetish Effigies; computer-set  Year: 2005 

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• James Gardner: Selected Works 

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• Gardner: Charge and other works 

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• Waiteata Collection of New Zealand Music Vol. 8 - Chamber Music II  Year: 2005 

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I heard Alanis Morrissette’s song Hand in My Pocket when I visited Canada in 1996. I’m intrigued by songs that we remember in spite of ourselves. When Alanis sings I’m short but I’m healthy, I’m high but I’m grounded I think of Greg Oh biking to NYC. I do hope that everything’s going be fine, fine, fine.

Juliet Palmer

• Palmer: Five; computer-set 

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• Palmer: Five; computer-set 

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• Juliet Palmer: Five; video 

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• Juliet Palmer: Five 

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• Hulford: For whom the bell tolls; computer-set 

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• Lardelli: Four Fragments; computer set 

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• Lardelli: Four Fragments; computer set 

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• Waiteata Collection of New Zealand Music Vol. 7 - Emerging Composers  Year: 2003 

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This is the “permanent exhibit” from the work in progress called ‘given what we gather takes place’. The model for the whole work is that of a museum in which some exhibits are on permanent display, and others are brought up from the storeroom. In other words, some sections of music are always to be played, while others are chosen by the performers from a pool of material to present a unique exhibition for each performance. The percussionist’s instrumental collection is similarly assembled; some categories of instruments are specified while others are chosen by the percussionist with the added stipulation that some aspect of the instruments chosen must be unique to the location of the performance. The music of this particular “exhibit” alludes to, but does not use, folk-like material and is conceived as a playful sparring match between two friendly opponents. ‘given what we gather takes place’ was commissioned by Resonate Duo, to whom it is dedicated, with funding from Creative New Zealand.

• Gardner: Given what we gather takes place; computer set 

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• Gardner: Given what we gather takes place; computer-set 

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• Given What We Gather Takes Place 

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The title ‘Grauschlieren’, meaning “grey streaks”, is taken from a painting by Gerhard Richter, and this torso for clarinet quintet is an attempt to render audible some of the notions of greyness, repetition and blurring prompted by Richter’s work.

• Gardner: Grauschlieren; computer-set 

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• Gardner: Grauschlieren; computer-set 

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• Gardner: Grauschlieren; computer-set 

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• Gardner: Grauschlieren; computer set 

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• James Gardner: Selected Works 

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• Gendall: GUNG-HO; computer-set 

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• Gendall: GUNG-HO; computer-set 

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• Chris Gendall: GUNG-HO; audio 

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

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Like many whakataukī, or traditional sayings, he rimu pae noa conveys a rich range of meanings. Literally, it describes seaweed set in motion by the tide. Metaphorically, it also refers the restlessness of a traveller, and the movement of a whole bed of seaweed in the same current alludes to a group of people working in harmony. This in particular has a strong resonance with the collaborative process from which the piece arose. The instrumental ensemble provides a framework, and a backdrop, for the improvisation of the taonga pūoro. At the same time it attempts to maintain its own identity, in conversation with the solo lines. Precisely specified gestural events are distributed in a flexible rhythmic framework,
which aims at a balance between control and spontaneity. I am deeply grateful to Horomona Horo, for a richly rewarding collaboration, and to Richard Nunns, whose work over many years is a deep source of inspiration.

Philip Brownlee

• Brownlee: He rimu pae noa; computer-set 

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• Brownlee: He rimu pae noa; computer-set 

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• Philip Brownlee: He rimu pae noa; video 

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• Philip Brownlee: He rimu pae noa 

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• Two pieces by Philip Brownlee 

  CD