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Gillian Whitehead  

Angels born at the speed of light

Duration: 1h 00' 00"
for narrator, dancer and improvising trio (flute/saxophone, percussion, piano)

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Juliet Palmer  

Cypress

Duration: 35' 00" Year: 2002
for double bass and bass clarinet

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Dorothy Buchanan  

Film Music

Duration: 1h 40' 00" Year: 1993
adaptation for clarinet, cello, and piano of music for silent film

  • Programme Note

    This music for eleven silent films,including Treasures / Nga Taonga, for clarinet, cello, and piano, would be most suitable for chamber music groups, including secondary school performers.

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Kit Powell  

Piece of 4

Duration: 45' 00" Year: 1980, r. 2007
a piece of four players

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Alex van den Broek  

Still Standing Silent

Duration: 50' 00" Year: 2009
for four musicians and a contemporary dancer

Video Sample
  • Instrumentation
    for B flat clarinet, tenor saxophone, percussion, contrabass - there is improvisation within set structures mostly for the tenor saxophone and contrabass
  • Programme Note

    In my work as a composer I have found bringing together classical and jazz musicians to be a rich and unique way of working. I have experience in both fields and my compositional talent and interest lies genuinely across the two art forms.

    This piece has been specifically composed for these performers and their unique sets of skills. Each performer is of a very high calibre and each possesses something special and unique in their playing and approach to music making. Mike Kime and Reuben Derrick often have moments of freedom as they are both accomplished improvisers. Gretchen Dunsmore and Mark Le Roche are classically trained performers with excellent skills and intelligent ears and minds. I knew that each of them would bring something to the work that would be unique and exciting.

    More recently my creative interest in movement and form has expanded to contemporary dance and I wanted to involve and include another artistic discipline in this work. Collaborating with Julia Milsom has been an exciting new venture for me. The nature of the sounds within the piece are highly applicable to contemporary dance and have been interpreted and expressed with considerable talent and skill by Julia.

    Layers of sound in time is a theme I have developed extensively in the piece. The layers interact, evolve, contrast, compliment, and conflict with each other to create a depth of space and time between them.

    The work is an exploration of the timelessness that comes in moments of deep introspection through evocative sounds and movement.

    Alex van den Broek

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Michael Norris  

TIMEDANCE

Duration: 38' 00" Year: 2012
Live score for dance-film, in collaboration with choreographer/filmmaker Daniel Belton.

Score Sample
  • Instrumentation
    two violins, cello and piano
  • Programme Note

    Time is cut open. Time is dismantled. It is this gateway that we open and close to really observe movement, and to glimpse Spirit. In this work it is the reunion of separated or broken parts that finds fluidity and wholeness. The compass of the dance is given full articulation in this state – we can appreciate the elegance and the mastery of the human form in space.

    Time Dance is in one sense a study of the dancer in action. Sinews of time – this is the algebra. It is not only examining but also restoring – reuniting from fragments of time – these pieces of time are coalescing to make the dance. When the figure pauses, the cascading echoes created through dance catch up with it. These are the monuments. When we catch up with ourselves we create a harmonic in space time. It is another way of celebrating being human. In the work we observe the relationship and sense of belonging to our home planet, Earth. This is geological, and thalassic – like a great cloak of emotion, the geometric grids and moving point maps are energetic prints containing our stories, our journeys, our pain, fear, beauty, love and joys. They are rippling beyond time, across time with the emotional frequencies that make up what it is to be human. This is also a dance. Time will quiver. I want to magnify silence and distort stillness. The geometry is a field of consciousness. Ultimately our physical bodies are the products of wave actions. The shadow is going into a wave space – and that alters the way we see everything.

    Source: http://www.michaelnorris.info

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