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guitar and ensemble (2-6 players) - instrumentation is flexible (and suggested size is also only a suggestion)

• Brownlee: As if to catch the fleeting tail of time; computer-set 

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• Brownlee: As if to catch the fleeting tail of time; computer-set 

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• Philip Brownlee: As if to catch the fleeting tail of time; audio 

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• Philip Brownlee: As if to catch the fleeting tail of time; video 

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• Philip Brownlee: As if to catch the fleeting tail of time 

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• Two pieces by Philip Brownlee 

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Flute doubling alto flute; clarinet doubling bass clarinet; horn; bass trombone; percussion (3 tom toms, 2 bongos, 2 suspended cymbals, crotales, vibraphone, bell tree); cello; double bass and bass clarinet solo

Au began as a series of musical reflections on the Auroroa with pitch material based on the name of bass clarinettist Andrew Uren whose initials provide the title. This title, ‘Au’ is also the abbreviation for ‘aurum’, the Latin word for gold. As I was composing I realised that I was dealing with golden qualities not only of the sounds in the piece but also of the musicians in the ensemble 175 East who would be giving its first performance. This was particularly the case with the soloist Andrew Uren whose adventurous bass clarinet playing has revolutionised the way in which composers in New Zealand think about the instrument.

The work was commissioned by Andrew Uren with funding provided by Creative New Zealand and was first performed on 15 September 2002 at The Space, Wellington, by Andrew Uren and ‘175 East’ conducted by Hamish McKeich.

• Rimmer: Au; computer-set 

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• Rimmer: Au (hire set); computer set 

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• Rimmer: Au; computer-set 

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• John Rimmer: Au; audio 

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• 175 East: Microchix and newer stuff 

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• John Rimmer: Au  Year: 2002 

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• Rimmer: 'Au' – concerto for bass clarinet and ensemble  Year: 2002 

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• Andrew Uren: Steep Steps  Year: 2011 

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3332; 4231; timp, 3 perc, hp, clst, strings plus didjeridoo in E flat

• Meridan: blast; computer-set 

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• Meridan: blast; computer-set 

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• Lissa Meridan: blast!; audio 

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‘blessed unrest’, was one of six short pieces commissioned by the New Zealand Trio as “attention-grabbing”, programme opening pieces. They wanted something that would start a concert “with all guns blazing”; a piece that ought to be “high-impact, dynamic and edgy”. It took a long time until I found something that I thought satisfied this demand, as I didn’t want to write an obviously motoric pulse-based piece. I wanted to create a sense of pent-up energy and its release in bursts. Many approaches were tried and rejected and while this was going on I came across the quote that gave the piece its title. I don’t think my dissatisfaction with earlier versions of the piece was either ‘queer’ or ‘divine’ and I dislike the lofty tone, but parts of Martha Graham’s statement nevertheless resonated with me: “There is vitality, a life force, a quickening that is translated through you into action, and because there is only one of you in all time, this expression is unique. If you block it, it will never exist through any other medium and be lost. The world will not have it. It is not yours to determine how good it is; nor how it compares with other expressions. It is your business to keep the channel open. You do not even have to believe in yourself or your work. You have to keep open and aware directly to the urges that motivate you. Keep the channel open. No artist is ever pleased. There is no satisfaction whatever at any time. There is only a queer divine dissatisfaction; a blessed unrest that keeps us marching and makes us more alive than the others.”

• Gardner: blessed unrest; computer-set 

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• Gardner: blessed unrest; computer set 

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• James Gardner: blessed unrest; audio 

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• Rimmer: Burning the Calories; computer-set 

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• Rimmer: Burning the Calories; computer-set 

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• Rimmer: Burning the Calories; computer set 

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• Rimmer: Burning the Calories; computer set 

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• John Rimmer: Burning the Calories; audio 

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• Becker: Cancer; facsimile 

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• Pepe Becker: Cancer I: T'amo mia vita; audio 

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• Pepe Becker: Many Waters  Year: 2000 

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• Becker; From the far point of the rising of the sun (Part I)  Year: 2005 

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• Baroque Voices: Brother Sun, Sister Moon  Year: 2011 

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• Carr: Concerto for Oboe; facsimile 

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• Carr: Concerto for Oboe; facsimile 

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• Edwin Carr: Concerto for Oboe; video 

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• Carr: Concerto for Oboe 

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• Edwin Carr: Concerto for Oboe 

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• Diversions - Autour du hautbois  Year: 2010 

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Orchestra:(1)2,2,2(1),2(1); 4331; timp., perc. (3), hp; strings. (Percussion: small and large suspended cymbals, tam tam, glockenspiel, vibraphone, xylophone, tubular bells, snare drum, 2 bongos, 3 tom toms, bass drum.)
Brass Band: sop cornet, solo cornet, 1st cornet, 2nd cornet, 3rd cornet, flugelhorn, tenor horn, baritone, tenor trombone, bass trombone, E flat euphonium, E flat bass, B flat bass

In composing this concerto I recognise two contrasting musical cultures within the European artistic tradition. The Brass Band represents what I call a ‘closed’ musical system portrayed by its standardised instrumentation heard to great effect in its stirring marches, sonorous hymn playing, contest pieces and arrangements of popular and show music, while the orchestra with its dazzling array of many instrumental colours, its flexible instrumentation and its potential for pushing musical boundaries, represents an ‘open’ musical system. I wanted also to exploit the virtuosic capacity of the brass band as a concerto soloist and to celebrate through this work the unity and solidarity amongst brass musicians.

Europa is a one movement work in five main sections which alternate slow atmospheric music with a fast and rhythmic style. The latter is heard in the many rapid passages which switch from band to orchestra and vice versa. Notable also is the relationship between the band and the orchestra particularly in the cadenzas for the brass band followed by the orchestral brass.

I was spurred into composing this work after reading about Europa, one of the large moons of the planet Jupiter first seen by Galileo in 1610 and named after a goddess of Greek mythology. Such thoughts were instrumental in generating my first musical ideas, for instance the name ‘Europa’ is represented by a six note melody heard throughout the work. However, my initial thoughts about Europa receded as I explored and developed the musical material. ‘Europa’ was commissioned by the Auckland Philharmonia. The work was first performed by the Dalewool Auckland Brass and the Auckland Philharmonia conducted by Miguel Harth-Bedoya on 13 June 2002 in the Auckland Town Hall.

• Rimmer: Europa; computer-set 

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• Rimmer: Europa; computer-set 

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• Rimmer: Europa; computer-set 

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• Rimmer: Europa (Brass Band score); computer-set 

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• Rimmer: Europa; computer-set 

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• Rimmer: Europa (brass band score); computer-set 

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• John Rimmer: Europa; audio 

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• John Rimmer  Year: 2002 

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• John Rimmer: Europa  Year: 2002 

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• Downes: Expulse; computer 

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• David Downes: Expulse; audio 

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• Body: Fire in the Belly; computer-set 

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  $30.50
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• Body: Fire in the Belly; computer-set 

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• Jack Body: Fire in the Belly; audio 

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• Jack Body: Fire in the Belly; video 

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