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• Hextall: Marx or Smith?; computer-set 

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• Hextall: Marx or Smith?; computer-set 

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• Hextall: Marx or Smith?; computer-set 

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• Hextall: Marx or Smith?; computer-set 

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• Pieta Hextall: Marx or Smith; video 

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Milly Mae-Moet is dressed up like a picture, anticipating the carnival today, with carousels and horses, hot air balloons. Ribbons in her hair and petticoat of crinoline, dance in the wind. Mother Mae-Moet buys candy-floss and toffee, pretty balloons for her, darling Milly Mae grows stubborn and persistent, wants more balloons. She has dreams of flying, never gives up trying for one more balloon. Milly Mae-Moet is willful and unyielding she gets her way, one more balloon, to take her away. Happily flying away too high to save…

This piece tells the story of Milly Mae-Moet, the stubborn yet admirably driven girl who convinces her mother to buy her all the balloons at the carnival so she my fulfill her dream of flying. She happily ascends (much to her mothers distress) through the insect layer into the bird layer and eventually into infinity.

The piece is a combination of scored sections and work-shopped improvisations that were developed with the ensemble in December 2007.

• Rosie Langabeer: Milly Mae-Moet 

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• Zirkus! – Sirius Music 

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This octet was commissioned by Donald Armstrong for Amici, and was composed early in 2007. It is a programmatic work in a single movement, divided into three sections. The first section, subtitled Octopus depicts the fluid and graceful movements of that mysterious seas creature. A quiet, flowing melody on violin symbolizes the Octopus, and is played in canon, before a more aggressive idea appears. The second main theme features horn and clarinet accompanied by the strings, and is glowing in character. A gently shimmering middle section is interrupted by suggestions of danger, leading to a climax. Following this, the main themes appear in reverse order, and a short clarinet solo leads the music directly into the second section, subtitled Sacrifice. After the female Octopus mates it stoically protects its eggs and slowly starves itself to death in the process. This section is characterized by slowly moving progressions, connected by glissandos, and a rising violin line that eventually leads to a lamenting bassoon solo that recalls the main theme of the first section. The bassoon solo speeds up and leads to the third section, Survival of the Small, in which the tiny Octopuses leave their mother to fight for their existence. Sinuous melodic lines contrast with an ominous-sounding second idea, leading to a rhythmic climax. The main theme only emerges following this, on the violin. A continuous stream of quavers through the movement is suggestive of a long journey. Towards the end the music settles harmonically and slowly fades; we hear fragments of the main Octopus theme returning on the horn.

This Octet was composed as part of the composer’s work at the University of Otago.

Note by Anthony Ritchie

• Ritchie, A.: Octet - Octopus; computer-set 

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• Ritchie, A.: Octet - Octopus ; computer-set 

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• Anthony Ritchie: Octopus  Year: 2011 

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The Sleep of Reason takes its name from a print by Goya. While the resonances of the full quotation from Goya “The sleep of reason brings forth monsters” might be seen to have wide ranging political and religious implications today, one could just ask the question – is this a piece of music conceived and articulated without reason? and if so – is it a monster?

• Harris: "The Sleep of Reason..."; computer-set 

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• Harris: The sleep of reason....; computer set 

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• Ross Harris: The Sleep of Reason...; video 

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• 175 East: The Sleep of Reason and Declination Zero 

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• Harris: The Sleep of Reason... 

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