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And every sparkle shivering to new blaze,
In number did outmillion the account
Reduplicate upon a chequered board

Dante, The Divine Comedy – Paradise XXVIII
Translation by Rev. H.F.Cary (1814)

Observe the circle nearest, and know
the reason for its spinning at such speed
is that Love’s fire burns it into motion.

Dante, The Divine Comedy – Paradise XXVII
Translated by Mark Musa (1995)

In Canto 28 of Paradise, Dante, the pilgrim, is faced with an unbearably piercing light reflected in the eyes of his beloved guide, Beatrice. He turns and sees nine ever decreasing circles burning and whirling at different speeds. These circles give off sparks that sing hosannas. Dante has seen a spherical universe with God at the centre. He asks why the universe is not really like this, Beatrice tells him that he is now seeing it from a spiritual rather than a physical point of view, and that the reason for the great speed of the inner circle “is that Love’s fire burns it into motion”.

This imagery of circles within circles whirling, burning and giving off sparks seems to demand some musical treatment. It suggests a number of musical ideas revolving around each other and establishing a smooth relationship, and the warmer notion of love setting these ideas in motion.

The quintet, which is in one continuous movement, revolves around five central ideas. These ideas are moved around like pieces on a chessboard, each trying to gain some strategic advantage in pursuit of a single objective. Two of these ideas provide the rhythmic drive of the piece. The first, hesitant, but gathering speed and rising in pitch, is introduced by the viola at the beginning. The second, direct and syncopated, is announced by all four strings when they play together for the first time, before it is taken up by the piano. The main source of melodic material is a quiet tune, a love song, that threads its way through the piece, played first by the two violins and viola. The full version is heard in a piano solo played simply in octaves. In another guise this tune becomes the fourth idea, a fast dance that gathers momentum as the quintet reaches its climax. The fifth idea, fast accumulating scales, links the melodic and rhythmic elements and helps provide energy. The piece begins with a piano chord, which becomes a pivot for all these ideas and crops up in a variety of ways at crucial points.

And Every Sparkle Shivering is something like a mosaic composed by inlaying small tesserae of coloured stone or glass to create a sparkling over-all design. There is conflict between the warmth and vigour of sparking fire and spinning circles, and the coolness of glinting stone and flickering glass.

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• Waiteata Collection of New Zealand Music Vol. 11 - Chamber Music III  Year: 2010 

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Ten years have passed since I wrote beneath the veil of silence. I remember at the time I was reading Michel Foucault’s The Order of Things, which is where I found the title for my piece. The fact that I was reading a book entitled The Order of Things says something about my preoccupation at the time – order.

This preoccupation derived mainly from a fascination with the visual patterns of nature, in particular patterns found in trees and other flora, as well as patterns found in the movement of water in all its forms. There must, I thought, be a link between order and beauty; and perhaps by exploring this relationship I might also have a chance of making something beautiful.

The phrase beneath the veil of silence also refers to nature. Specifically, the idea that nature contains a message, it is trying to tell us something, but it is mute and unable to speak directly. Hence the veil – something is concealed from our view, even though we are aware of its presence.

The order of beneath the veil of silence is also intentionally hidden from view; it resides at a deep level in the structure of the piece. The surface we hear is laced with signs that refer to this deep structure but always in a more or less obscure way. Hopefully, the result is a sense of order – a feeling that something is going on in the background, without our ever being sure exactly what.

There are two main structural layers to the piece – one that determines the pitch organisation and one that determines the temporal/rhythmic design of the composition. These two conceptually unrelated layers, both products of reiterative processes, are superimposed and interact with each other; in particular, the rhythmic design “smudges” the previously almost geometrically perfect pitch design, shifting elements left and right, and unpicking vertical pitch configurations.

The “fleshing out” of this structural skeleton, although to some extent elaborating material from the skeleton itself, was largely an act of imagination/fantasy. Perhaps this is why the timbral aspect of the piece is so important. It is really in the interaction of the various instrumental combinations that the “poetry” of the piece (if it exists) is located. Thus following timbral indications, such as sul tasto or sul ponticello, are just as important as playing the right note at the right time; and being clear about how each part fits together, and what each part contributes to the combined timbre of the ensemble, is critical to performing the piece convincingly.

Listening to beneath the veil of silence now, I can hear that I was preoccupied with a post-serial musical idiom in the early 1990s. This is hardly surprising considering my teachers we very much of the “Darmstadt” generation and heavily influenced by serialism. In recent years, I have moved away from this approach to composing, but the critical role of timbre and the search for the relationship between order and beauty are two things that remain from the early period. There are very few pieces written before beneath the veil of silence that I would now offer for performance, so this work is very much a starting point, the first step down a path that leads who knows where…

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De Aestibus Rerum was composed for the centenary of the University of Auckland in 1983, and received its first performance in November of that year. The title means ‘on the ebb and flow of things’ and the work is based on a number of distinctive rhythmic and timbral ideas which grow and recede. One hears fluidic patterns, clear octaves with coloured resonances, shimmerings and tremolos, bird-like calls and repeated notes which move frequently at different speeds. A feature of the work is the free open sounding passages marked ‘cadenzas’ for clarinet, violin, cello and horn. In two of these passages the instruments proceed independently of each other.

This work received first prize in the chamber music category of the International Horn Society Competition in 1984 and the work was subsequently performed at the International Horn Symposium, Detmold, Germany, in September 1986 by the Virginia Tech Ensemble.

De Aestibus Rerum was recorded by the Karlheinz Company in October 1984.

• Rimmer: De Aestibus Rerum; facsimile 

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• Waiteata Collection of New Zealand Music Vol. 10 - John Rimmer: Chamber Music  Year: 2008 

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The derailleur is that piece of bicycle componentry which crudely knocks the chain from one sprocket or chain-ring to another, resulting in a higher or lower gear. The sensation experienced on a rider’s first encounter with the derailleur is strange: one finds oneself pedalling more or less to cover the same distance, but, once one is aware of the derailleur’s benefits, the feeling is one of control over gradient, surface and the elements. The derailleur is directly analogous in music to the phenomenon of metric modulation, a device pioneered in complex forms by Elliott Carter. In derailleurs, metric modulation is used in tutti passages to express ritardando and accelerando with a jumpy, cog-changing precision. Solo sections stand in contrast by allowing individual players the freedom to impose their own subjectivity on the concepts of slowing down and speeding up.

derailleurs was premiered at the Nelson Composers Workshop in 2001. It was awarded First Prize in the Young Composers Competition at 2002 Asian Composers League in Seoul, Korea and received a concert performance by Stroma in Auckland in 2003.

• Watson, C.: Derailleurs; computer-set 

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• Farquhar: Fives; facsimile 

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• Young, J: Mobiles 3; facsimile 

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“Of all the discoveries made by Mariner 9, one of the most impressive was an enormous volcano, twice as high as Everest and five hundred kilometres across the base. It was located at a spot which the old map-makers, peering at the tiny telescopic image of Mars, had noted as being of unusual brilliance, and had given the astonishingly prescient name ‘Nix Olympica’, the Snows of Olympus.�” (Arthur C. Clarke)

While the title provided the impetus for this work, it is not intended to be strictly programmatic; rather, I have sought to establish a mood (or perhaps a ‘landscape’) which each title suggested to me. Nix Olympica was written at a time when I was becoming very interested in minimalism in musical composition, and much of the material reflects this. Minimalist works are usually built from a small amount of melodic or rhythmic material repeated many times, often with only slow subtle changes. Although the work is quite active rhythmically (especially the middle section) it is harmonically quite static. The first of the three sections (which follow each other without a break) establishes B flat as its tonal centre, and presents fragments of material which occur later in the work. The second section uses G as its rallying point with a secondary focus on B flat (a minor 3rd above G). The music consists of a series of ideas which gradually lengthen, framed by a structure of major subdivisions which come closer and closer together. The third section moves to an E minor tonality (a minor 3rd below G) and consists of a long languid melody played throughout by the clarinet.

This music is derived from an independent work for flute, percussion and organ written at the 1985 Cambridge Music School. Throughout the work there is a preference for middle and upper-range timbres from all the instruments, but with few ‘extended playing techniques’.

Nix Olympica was commissioned by the Music Federation of New Zealand (now Chamber Music New Zealand) for the Auckland Wind Quartet and pianist David Guerin. It was premiered by these performers in 1986.

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Piano Quintet was premiered by Stroma (Felix the Quartet with Emma Sayers) in Wellington in 2001.

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