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cor anglais, 2 violins, viola, cello, double bass

‘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'  Year: 2002 

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alto flute/piccolo; clarinet in A; bass clarinet/small bamboo chimes to hang on music stand; horn in F/small bamboo chimes to hang on music stand; bass trombone/small bamboo chimes tohang on music stand; percussion: 2 suspended cymbals, hihat, sizzle cymbal, 3 toms, medium bass drum, 3 woodblocks, three sets of maracas, bamboo or wood chimes; harp; violin;viola; cello and bass

In this work, cycles of accumulation and decay move in broad wave-like gestures, recalling the sea. I am fascinated by the potency of the tiniest gesture, syllable or phoneme. Having no ‘meaning’ in itself, the syllable ‘and’ is weightless and transient, yet holds enormous power to link ideas; to create anticipation/momentum. It is like a wave bearing thought towards utterance. …and…11 was composed for, and is dedicated to, Chachi and Lontano.

• Ker: [...and...11]; computer set 

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• Ker: ...and...; computer set 

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• NZ Women Composers Vol. 2 

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• Dorothy Ker: ...and...  Year: 2002 

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• diffracted terrains: Chamber Music of Dorothy Ker  Year: 2007 

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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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piano, bass, gamelan (2 players), electric violin, electric guitar

• Besser: Music for Peace Volume One  Year: 2002 

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synthesizer, bass, gamelan (2 players), electric violin, electric guitar

• Besser: Music for Peace Volume One  Year: 2002 

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synthesizer, electric guitar, violin, gamelan

• Besser: Music for Peace Volume One  Year: 2002 

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• Farr: Taheke; computer set 

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• Farr: Taheke; computer-set 

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• Taheke: 20th Century Masterpieces for Flute and Harp  Year: 2004 

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• Flight – music for flute and harp  Year: 2009 

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At an Auckland Philharmonia fund-raising auction in 2000, one of the orchestra’s most generous sponsors, Dr Tom Morris, bid a substantial amount for a short ensemble piece to be written by the composer-in-residence. His was the choice of ensemble and title; the first performance was given in the Auckland Town Hall at the orchestra’s 21st birthday celebrations in 2001, where it was played as a surprise for his wife, Ann, to whom it is dedicated, and whose birthday it also was. ‘Serenade for Ann Morris’ spans four sections in one movement, of which the second is for strings alone, and the third is an oboe cadenza.

• Whitehead: Tom's Serenade to Ann Morris; computer-set 

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• Whitehead: Tom's Serenade to Ann Morris; computer-set 

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• SOUNZfine Volume 5: New Zealand Women Composers 

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• NZ Composers - Whitehead and Grenfell  

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During my stay in Toronto, for a brief time I was able to make use of the piano in a local church in return for singing with the choir on Sundays- as they were, at that stage, short of members with good music reading skills. Although a short-lived arrangement, it was long enough for the contents of the hymnal in the chapel to inspire this Trio on Hymn Tunes. The piece is in four freely composed movements; each is based on one or more hymn tunes, the basis for my investigations being sometimes the melodic aspect of the hymn, and sometimes the harmonic one. Composed for Enamble 3 of Mexico City. Dedicated to my mother Alison Carey, from whom I have had the experience of hearing and singing hymns such as these from an early age.

• Carey: Trio on Hymn Tunes; facsimile 

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Scored for guitar, flute and Bb clarinet, …vers libre… (meaning “free verse”) threads through a succession of musical landscapes, punctuated by colouristic events and frequent upheavals in pulse (governed by metric modulations), never pausing to cast an eye backwards. The work was premiered at the Nelson Composers’ Workshop in 2002 and has received subsequent performances at the 2003 ACL Forum in Seoul, Korea, and at the neue musik aus neuseeland festival at the Musikhochschule Lübeck in 2006. Dylan Lardelli has played the guitar part in all performances. …vers libre… is published by Waiteata Press and appears on a CD of works by emerging New Zealand composers.

• Watson, C.: ...vers libre...; computer-set  Year: 2003 

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• Chris Watson: …vers libre…; video 

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• Three Generations 

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• Waiteata Collection of New Zealand Music Vol. 7 - Emerging Composers  Year: 2003 

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