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‘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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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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• 175 East Vol. 8 

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• James Gardner: Selected Works 

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There are two main forces shaping this work, which could be thought of as an “internal” force and an “external” force. The internal force is a process of growth that begins with a complex event heard towards the end of the composition. Variations of this event fan out in all directions across the work’s temporal space, ensuring that every event has a relationship, however distant, to every other event. The detailed crafting of each event, with its constant microscopic fluctuations in pitch and timbre, reflects the detailed activity in a spectral analysis of the title of the piece, a line from one of Ezra Pound’s ‘Cantos’. This analysis is expanded to have the same duration as the composition, so that the entire work is, on one level, an elaboration of a few seconds of spectral activity. The harmonic content of the spectrum is not, however, reflected in this rendering, but rather the morphology, with its evocative twistings, compressions and expansions. The harmonic organisation forms a third structural layer. It originates in the first five odd numbered partials of the natural harmonic series, built on the log ‘G’, an octave below the bass clef. Each partial forms the centre of a narrow band of pitches, from which the “melodic” material is drawn. Ultimately, however, the resulting contrapuntal writing is largely submerged in the surface timbral activity, as the other two structural layers tear at and distort its fabric.

• Hall: and the snow's lace is spread there...; facsimile 

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• Neville Hall: and the snow's lace...; audio 

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• Two Works by Neville Hall 

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1. The first movement illustrates the plethora of fish to be seen at the Aquarium at feeding time. There are small fish, big fish, colourful fish and plain fish. I have tried to mimic the darting movements of the small fish with quick high grace notes and tremolos. In contrast, the darker notes of the oboe and the piano represent the bigger, slower and brooding fish.

2. Watching the harbour in the morning is one of the most serene and beautiful experiences one can have in Barcelona. One morning I visited the harbour when the skies were clear and the sun was sparking on the ocean, which was a most brilliant blue. The area was almost deserted; it was early. I have captured the tranquillity of the moment with an intimate trio of cello, violin and clarinet.

3. Finding large as life puppets in the square outside the Cathedral was a delight. I imagined them to be alive, moving jerkily, interacting and dancing a little in an empty space.

4. Stepping out of the Metro and being confronted by La Sagrada Familia was a momentous experience. I have chosen two aspects of what I felt for this movement. Firstly, there is the foreboding nature of the building; the way it looks as though it were melting, twisting and almost lurching as it towers over you. Secondly, there is the light and peace that radiates from it through the optimistic spires and delicate bird decorations.

5. The fun side of Gaudi can be seen in the fairytale-like Park Gell, which is full of excitement, laughter and maybe (if you’re lucky) at bit of dancing.

Barcelona Postcards received a Honorific Mention Award in the 2005 Frederic Mompou International Award for the Young Composer Competition of the Joventuts Musicals de Barcelona.

• Toan: Barcelona Postcards; computer set 

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• Bowater: Declination Zero; computer set 

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• Bowater: declination 0 (zero); computer set 

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• 175 East: The Sleep of Reason and Declination Zero 

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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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• Rachael Morgan: from a fixed point 

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FB: ‘I may very often be discontented and loathe myself but I’m not trying to bring that out. Nor have I a disgust with life. Life is all we have. I mean, here we are for a moment.’ (1984)

Here we are for a moment is a response to the work of Francis Bacon, though is not representative of any particular Bacon painting; rather it attempts to go beyond the dramatic and violent and capture the insistent energy, the malleability of forms, and the vitality of Bacon’s work. Here we are for a moment was written between January and July 2006 for 175 East.

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The march is connected with both military and alternative political gatherings. Trying to understand the form, I’ve been listening to Purcell’s Queen’s Funeral March, the conga playing of Quebec Summit protestors and the strangely military snap of Old Mother Hubbard (performed by the US Air Force Band). Revisiting this nursery rhyme, I was struck by the revolutionary aspirations of the last verse: The dame made a curtsey, The dog made a bow; The dame said, “Your servant,” The dog said, “Bow, wow.”

• Palmer: Mother Hubbard; electroacoustic part 

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• Music by Juliet Palmer I 

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• Palmer: Mother Hubbard: f_mix; computer set 

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Silk Dialogue (VI) is the sixth in a series of works that I have been working on in the last few years related to the work I have been doing in Taiwan and China. It is the second piece that includes snare drums in addition to each players instrument; the previous one, Musik für witwen, jungfrauen und unschuldige, was also premiered by Stroma in 2004. In both cases the idea to do so was born from an interest in traditional Chinese opera, and the various uses of percussion. The Silk Dialogues take as their starting point the ancient Chinese musical notation (wen zi pu) particular to the guqin, a type of zither dating from the Nan Bei Chao Dynasty (around 1500 years ago). What interests me about the guqin’s idiosyncratic notation system is its focus on the physical coordinates of the musical elements, seemingly unrelated to our Western notions of ‘pitch’. It seems heavily weighted in favour of gesture, rather than pitch, a little like Chinese calligraphy.

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• Jeroen Speak: Silk Dialogue (VI); video 

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