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This work for clarinet quintet in three movements was written following time spent in the north of Scotland, during which I visited the remote and desolate places that my family left behind when they emigrated from Scotland to New Zealand in the 19th Century. Although the music is not intended to be strictly descriptive, the image underpinning the work is that of an infinite shore that stretches from the line of steep cliffs at Badbea overlooking the North Sea, around the world to the rocky southern shores of Aotearoa New Zealand. The work draws on the tonal colour and extremes of pitch that are possible in the clarinet, and the extraordinary platform of sound of the string quartet.

• Webster: An Infinite Shore; computer set 

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• Webster: An Infinite Shore; computer set 

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• 5 Works by M Louise Webster 

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• Adams, C.: Contemporary Triptych; computer set 

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• Adams, C.: Contemporary Triptych; computer set 

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• Chris Adams: Contemporary Triptych; video 

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• Chris Gendall: Eigene Gestalt - hardcopy score 

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• Chris Gendall: Eigene Gestalt - downloadable PDF 

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• Chris Gendall: Eigene Gestalt; video 

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F.S.M. could stand for: Fabricated Sheet Metal; Fault Summary Message; Federated States of Micronesia; Female Seeking Male; Fiji School of Medicine; Financial Services Marketing; Finite-state machine; Fire Safety Manager; Flying Spaghetti Monster; Franciscan Sisters of Mary; Free Speech Movement; Frequency Shift Modulation; Full Screen Mode and at least 250 other possibilities.

Hallelujah is used to express praise or joy.

It is conceivable that the title of this piece has some relevance to the music. It is less likely that this programme note will help the audience to determine the relevance of the title or compositional intent of the composer.

• Adams, C.: F.S.M. Hallelujah!; computer set 

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• Adams, C.: F.S.M. Hallelujah!; computer set 

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The formula for realising this work:

- take existing quartet (2010)
- delete guitar and cello parts
- rearrange and pare down surviving flute and clarinet parts
- add bass trombone part

Why?

- I’ve been interested in continuous recontextualisation of materials (transformed or unchanged) within single works for some time now; if I rip entire chunks from an existing piece and use them to build something else, to what extent is the resulting work new, and to what extent is it related? – and can this relatedness even be detected? Furthermore, is composing in my usual mode as dependent on such high levels of compositional struggle as I had previously held it to be?
- but primarily: this is the first work written since the arrival of my son about a year ago; time for composition remains limited and rapid solutions must be found

Chris Watson

• Watson, C.: recrudesce; computer set 

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• Watson, C.: recrudesce; computer set 

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• Watson, C.: recrudesce; computer set 

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• Chris Watson: recrudesce; audio 

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The fate of the Roma and Sinti (Gypsy) people continues to be a hugely divisive topic across Europe. Substandard housing, special schools, huge unemployment, massive discrimination, hate crimes and murders of Roma and Sinti because of their ethnicity contrast with the widespread conviction that Roma and Sinti are lazy thieves refusing to work, and that their squalid housing and enormous poverty is solely their own fault.

As a foreigner in Europe Samuel Gray sees massive discrimination and hate crime that is absolutely shocking in a so-called enlightened continent, and for him the level of intolerance towards Roma – in countries that should have learnt enough lessons from history – is terrifying.

The accordion is heavily used in ‘Gypsy’ music, and Austria – where Samuel lives – is full of talented travelling Gypsy musicians. Roma is Samuel’s expression of solidarity both with those – largely ignored – musicians and with an ethnic group that, in his opinion, is still treated as sub-human.

• Gray: Roma; computer set 

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• Gray: Roma; computer set 

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• Samuel Gray: Roma 

  Digital sound file - wav
  

• Hall: There is a wine-red glow in the shadows; facsimile 

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• Hall; There is a wine-red glow in the shadows; facsimile 

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A three movement work for flute, clarinet in Bb and bassoon based on three paintings by Phillip Trusttum.

• Adams, C.: Trusttum Toys; computer set 

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• Adams, C.: Trusttum Toys; computer set 

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seen was written as music for dance in collaboration with choreographer Justyna Janiszewska. It explores the boundary between what is seen and unseen, know and unknown, heard and unheard. The music for this piece is built upon ideas influenced by gamelan music, mainly the idea of building a rhythmic texture up from the one rhythmic line layered on to of itself at different speeds. Each section explores a different aspect of the relationship between these different layers. However, this rhythmic framework itself is never fully exposed, and so itself remains unheard while it exerts an influence on the piece from a distance.

• Eastwood: (un)seen; computer set 

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• Eastwood: (un)seen; computer set 

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A trajectory based piece that begins with tonal melodic material which is then tuned through a pitch class set and then follows through atonal harmony. The process is reversed to bring the piece around full circle. The piece was written instinctively with no material concept but simply a present energy of animal nature or character.

• Briar Prastiti - ζωώδες/zo̱óḏes (‘Animality’) - hardcopy score & parts 

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• Briar Prastiti - ζωώδες/zo̱óḏes (‘Animality’) - downloadable PDF 

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