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Clarinet Quintet was commissioned by Christopher Marshall for his chamber music series “Christopher’s Classics” in 2006. It was written for Gretchen Dunsmore, clarinet, and The New Zealand String Quartet, for a premiere performance on September 13, 2006. The composition was also written as part of the composer’s work at The University of Otago. The point of departure in this work is Mozart, in the year of his 250th anniversary. Motivic ideas are derived from the opening melody of his Clarinet Quintet, using a magic square to transform the pitches. No direct reference is made to the Mozart theme until the third movement, which is more diatonic in character.



The first movement begins mysteriously, with a clarinet solo interspersed with rustlings from the strings. This solo contains the seeds for the entire movement, which is fast, lively and angular, following the slow introduction. A more moody and edgy middle section gradually builds up to a climax near the end of this movement. Contrasting with this is a slow middle movement that opens with a simple and bold statement on the strings. Over the top of this the clarinet plays a lamenting melody. The first four notes are a quotation from the composer’s opera The God Boy (Mrs Sullivan’s motif) signifying anxiety and guilt. A slightly calmer middle section is free in tonality, and builds up strongly in intensity, followed by an abridged return to the opening. The finale is a ‘moto perpetuo’ movement in which the diatonic opening idea is undermined by subtle tensions in the music. Although it is fast-paced and lively, it is also weary and uneasy in tone. A rousing final section leads to a quiet, fading coda, as the life in the music is gradually exhausted.

• Ritchie, A.: Clarinet Quintet; computer-set 

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• Two works by Anthony Ritchie 

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• Moon: Divertissement; facsimile 

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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.

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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.

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• James Gardner: Selected Works 

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• Statham: Suite for Flute and String Quartet; computer-set 

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• Statham: Suite for Flute and String Quartet 

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• Keith Statham: Suite for Flute and String Quartet; audio 

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• In Retrospect - Quintets, Quartets and Trios by Keith Statham 

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• Keith Statham: ...of wine and roses  Year: 2011 

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Tag: as in the children’s game; the soloist is ‘it’.

Release: a release for the composer (and his performers) from previous modes of engagement with small ensemble music that have almost always required the services of a conductor. In this work perpetual, conventionally written soli are passed between the players. When not playing soli, musicians are reacting loosely to the solo line with a series of gestures; the soloist becomes a conductor of sorts.

Tag and release: from recreational fishing, in the interests of research and conservation.

The work is continuous but divided into three sections.

soli 1-7: introductory (loose) palindrome
soli 8-14: suddenly noise-based…gradual re-emergence of pitch
soli 18-20: intensification

With thanks to the MCL, the Silo String Quartet, Barrie Webb and Jack Body.

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• Chris Watson: tag (and release); audio 

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