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In many ways this is a companion piece to an earlier work, Vivid for solo trumpet, which also sets a powerful, sexually charged poem by Will Christie. But where Vivid is very often overtly violent and forceful in its gestures, deepwalker is mostly much subtler, almost passive-aggressive in outlook. The opening lines of the poem – “the day is a drum that connects these vocal loops with grey traffic circles bridge after bridge” – are mirrored in the cyclical, sometimes elliptical form of the work, loops and circles that play between registers of the clarinet. Sexual tension and aggression bubble away in the background, periodically rupturing the musical surface with piercing, angular outbursts, sometimes in parallel with the rather tender, fluid lines of the low register, and with the spoken text itself. This violent interplay creates a kind of disordered internal conversation, a bizarre hermetic character opening and shutting her windows; a clarinet of many voices.

Warning: contains coarse language

• Taylor: deepwalker; computer set 

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• Alex Taylor: deepwalker; audio 

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• Alex Taylor: deepwalker 

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• Speak: Epeisodos; computer set 

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• Speak: Epeisodos for E flat clarinet; computer-set 

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• Jeroen Speak: Epeisodos; audio 

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• 175 East Vol 7 

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• 175 East Vol. 8 

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• Jeroen Speak: Epeisodos 

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This piece uses the image of a bird lost in a city, frantically trying to find a way out of the concrete that has engulfed its natural habitat. It is a political statement about the way that New Zealand is becoming this concrete jungle: individual greed and a lack of long term vision allow high intensity farming practices to destroy our rivers, and transitory councils allow increasing urban expansion to eat away at more and more of our natural land.

Flight was originally for solo flute and has been adapted by the composer especially for Anna McGregor; it is one of a number of his works that she has premiered. Although some of the lightness of the flute version is lost, the clarity and edge of the Eb Clarinet sound intensifies the frenetic elements of the piece.

• Adams: Flight - Lost in an urban(e) jungle; computer-set 

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• Adams: Flight - Lost in an urban(e) jungle; computer-set 

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• Chris Adams: Flight: Lost in an urban(e) jungle; audio 

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• Chris Adams: Flight: Lost in an urban(e) jungle 

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“…but I consider play to be

A deeper outside thing, a dreamed role-pattern,
As in the division of grace these long August days
Without proof. Open-ended. And before you know
It gets lost in a stream and chatter of typewriters.”

- John Ashbery, Paradoxes and Oxymorons (1981)

This is a piece primarily concerned with notions of play and interplay – a form of game, but also a conversational experiment between somewhat disparate elements. Constantly in a state of flux, half patterns explodes a world of inflections and suggestions that grow, fray and turn in on themselves in shuddering stop-start motion.

• Taylor: half patterns; computer-set 

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• Taylor: half patterns; computer-set 

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• Alex Taylor: half patterns; audio 

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• New Works for Clarinet and Piano - Anna McGregor and Buz Bryant-Greene 

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• New Works for Clarinet and Piano - Anna McGregor, Emma Sayers and Buz Bryant-Greene 

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Mandible was commissioned and premiered by Andrew Uren in 2005, with performances with 175 East and at the World Bass Clarinet Convention in Rotterdam. Its American premiere took place at the Juilliard School in New York as part of the 2006 Focus! Festival, with bass clarinetist Sean Rice. The work has been studio recorded by Andrew Uren, with engineering by James Dunlop.

• Watson, C.: Mandible; computer set 

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• Watson, C.: Mandible; computer-set 

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• Chris Watson: Mandible; audio 

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Mata-au is the original name of the Clutha river, which I see from my window in the Henderson house, built by the Austrian architect Ernst Plischke where, courtesy of the Henderson Arts Trust, I was artist-in-residence. Mata-au refers to the river’s characteristic whirlpools, caused by layered currents flowing at different speeds, which resemble the wake of a giant waka, and the piece has its origins in Māori chant.

Gillian Whitehead

• Gillian Whitehead: Mata-au - hardcopy score 

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• Gillian Whitehead: Mata-au - downloadable PDF 

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• Gillian Whitehead: Mata-au; audio 

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• New Zealand Music for Woodwind 

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This set of five miniatures for bass clarinet explores the experiences of different states of mind:

I. Somnolence, n. a state of drowsiness; a condition of semi-consciousness approaching coma
II. Sharpness, n. a quick and penetrating intelligence; the cutting ability of an edge
III. Obstinacy, n. unyielding or stubborn adherence to one’s purpose, opinion, etc.; the trait of being difficult to handle or overcome
IV. Doubt, n. a feeling of uncertainty about the truth, reality, or nature of something
V. Vertigo, n. a confused, disoriented state of mind; a dizzying sensation of tilting within stable surroundings

Each movement has an individual character but together they form a sort of continuum from passive inactivity to driving motion, and from safety to danger.

• Taylor: mindsets; facsimile 

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• Taylor: mindsets; facsimile 

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• Alex Taylor: mindsets; audio 

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In writing this work, the composer felt that whether by accident, design, or outright thievery, he drew influence from musical sources besides his own imagination. To that end, he would like to thank (in order of first appearance):
John Ritchie, John Elmsly, Douglas Lilburn, Claude Bolling, the Roy Hargrove Quintet, The Bad Plus, Dmitri Shostakovich, Rickie-Lee Fray (age 4), Radiohead, Sergei Prokofiev, Maurice Ravel, Sarah McCallum, Eve de Castro-Robinson, Mad Caddies, Witold Lutosławski, Gustav Mahler, Chick Corea, Elliott Carter, Robbie Ellis, Ludwig van Beethoven, Claude Debussy, a dead German, Kaikhosru Shapurji Sorabji, The Benka Boradovsky Bordello Band, Metallica, Francis Poulenc, Scott Joplin, Jerry Bock, Dave Brubeck, Family Guy, Slayer, a dead Spaniard, Gogol Bordello, The Cat Empire, David Rose, Jonny Doom and The Forcefields, a dead Austrian, a dead Russian, a dead Czech, the opening night cast of Improv: The Secondary School Musical, and The Army Of Skeggs.

• Ellis: Sonatina for Clarinet and Piano; computer-set 

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• Ellis: Sonatina for Clarinet and Piano; computer-set 

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• Ellis: Sonatina for clarinet and piano; computer-set 

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• Ellis: Sonatina for clarinet and piano; computer-set 

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• Robbie Ellis: Sonatina for clarinet and piano; audio 

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• New Works for Clarinet and Piano - Anna McGregor and Buz Bryant-Greene 

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• New Works for Clarinet and Piano - Anna McGregor, Emma Sayers and Buz Bryant-Greene 

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• Robbie Ellis: Sonatina for Clarinet and Piano 

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In phonetics, a sibilant is a type of fricative consonant, or a consonant you can hold by constant airflow. Sibilants are made by placing the tongue towards the sharp end of the teeth and passing air through the small gap – in English, the sibilants we know are ‘s’, ‘z’, ‘sh’ and ‘zh’.

I’ve always felt that the gestures involved in enunciating a word are little different to the gestures involved in sounding a note or playing a phrase on a musical instrument, so why separate them in performance? I came up with three nonsense words starting with the letter ‘s’: “skornk” (pronouncing the ‘r’ quite strongly); “soh” (with the same vowel as in ‘sock’); and “stup” (with the same short vowel as in ‘took’).

The three short pieces are derived from these nonsense words. Skornk is quite brash and boisterous, bringing out a driving, zany quality in the Eb clarinet. Soh is restful, with long and slow-developing phrases that make for a gentle arc in the piece. Stup draws on the rhythms of funk, hip hop and rap, requiring the performer to multi-task as a clarinettist, vocalist and multi-limbed percussionist all at once.

Acknowledgement goes to everyone at the Nelson Composers Workshop, particularly Ross Harris and – of course – the ever willing and ever wonderful Anna McGregor.

• Ellis: Three Sibilants for E flat clarinet; computer-set 

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• Robbie Ellis: Three Sibilants for Eb clarinet; audio 

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A virtuosic work for solo clarinet which exploits the instrument’s great agility and wide timbral and dynamic range. The work concludes with a tranquil melodic sequence from which the work takes its name.

• Blake: Towards Peace; facsimile 

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• Blake: Towards Peace; facsimile 

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• Christopher Blake: Towards Peace; audio 

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