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Bliss Mechanism is a play with the concept of false/true emotional states. The goal is to express a sense of irony contrasted with glimpses of deeper, more spacious, spontaneous/authentic emotion. Irony and pathos are the two principle ideas at play. The emergence of one conquering the other is an import aspect of the piece. The fast rhythmic sections should be played with a relentless, almost desperately positive, energy.

• Downes: Bliss Mechanism; computer-set 

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• Downes: Bliss Mechanism; computer-set 

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• Downes: Bliss Mechanism; computer-set 

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• Downes: Bliss Mechanism; computer-set 

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evening rode tenderly combines and reconfigures the melodies of eight folk songs from New Brunswick. I love to sing these songs, seduced by their intricate ornamentation, tendrils of melody unfurling and doubling back on themselves. The singer is leaving home, heading off on a journey — roving, walking or maybe riding. It’s early summer, fair and pleasant. The journey begins at the time between dark and light. In composing the piece I included a stripped down choreography — fragments of a folk dance which subtly shifts the relationship between the two performers.

• Palmer: evening rode tenderly; computer set 

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• Palmer: evening rode tenderly; computer set 

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The four abstracts of the title represent a kind of conceptual continuum between emotional states – Solitude, Intimacy, Distrust and Panic. Gradually developing in momentum and intensity, the movements flick between different angles and stages of human relationships, subverting expectations in building a fragile structure of unease and compulsion.

• Taylor: four abstracts; computer-set 

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• Taylor: four abstracts; computer-set 

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• Taylor: four abstracts; computer-set 

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• Taylor: four abstracts; computer-set 

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For a while now, I have had an interest in the nature of sound and timbral nuances. In this piece I also explored the concept of vibration and movement around a fixed point.

Fixed points appear in many guises through-out the work, at times they are explicit, other times more implicitly implied, particularly later in the piece. In all cases the focus is on timbre and movement within a sound.

The piece begins in a strong and solid soundworld. Here, pitch is a clear fixed point with the intention of drawing the listener’s attention to subtle timbral variations.

Pitch is certainly not the only reference point. Distortion and interference of both soundwaves and textures are also important elements of the work. These become stronger features as the material begins to destruct in a gradual shift towards instability. This move from stasis and stability, to instability and fragility is also highlighted by an evolution of instrumental techniques.

from a fixed point was commissioned by 175 East with funding from Creative New Zealand.

• Morgan: from a fixed point; computer-set 

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• Morgan: from a fixed point; computer-set 

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• Rachael Morgan: from a fixed point 

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This piece is an hommage to Witold Lutoslawski. In an interview he once said, “I wanted to restore the pleasure of playing music.” Lutoslawski was referring to the tendency toward extreme complication in contemporary music of the 20th century. His solution to maintaining a fresh, contemporary sound while not torturing his performers was simple, yet ingenious …

• Margetic: Hommage a W.L.; computer-set 

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• Margetic: Hommage a W.L.; computer-set 

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• SMP Ensemble: Podroze - Journeys 

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