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• Norris: 14 Islands; computer set 

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• Norris: 14 Islands; computer set 

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• Michael Norris: 14 Islands; audio 

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• Two works by Michael Norris 

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• Cruise-Johnston: A Blessing; computer set 

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• Hamilton: Across the Line; computer-set 

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• Nock: Afterbach; computer set  Year: 2005 

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• In the time of sakura: the piano music of Mike Nock  Year: 2007 

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• Michael Houstoun: Inland (CD & DVD set)  Year: 2007 

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• Cruise-Johnston: Agnus Dei; computer-set 

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• Nock: Amerdoux; computer-set 

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• In the time of sakura: the piano music of Mike Nock  Year: 2007 

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Angst: an acute but non-specific sense of anxiety or remorse (Collins Concise Dictionary). This is not intended to be an easy-listening, carefree piece. I wanted to portray a deep-seated sense of angst, creating a feeling of uneasiness in the listener. The flute and cello bear a similar angst, at times dealing with this independently, yet always returning to share in their anxiety. Quarter-tone inflections disconcert the harmonies, with tremolo, flutter-tongue and a recurring minor ninth adding to the tension. The material gradually unravels, only to fold in on itself again, remaining unresolved.

• Morgan: ...and yet, not; computer set 

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• Morgan: ...and yet, not; computer set 

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• Rachael Morgan: ...and yet, not; audio 

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• Works by Rachael Morgan 

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• Camm: Aves Beati Cuthberti; computer set 

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These twenty (mostly very brief) bagatelles were among the first pieces I wrote while on a one-month residency at the Visby International Centre for Composers in Gotland, a Swedish island in the Baltic Sea, in October 2005.

The musical material I use in these Bagatelles I feel relates to my being in Europe (albeit a rather far-flung part) for the first time, and my subsequent reflection on my ‘European’ classical musical upbringing on the other side of the world in New Zealand. At times the music veers into irony, such as the violin caught in a maze of its own making (bagatelle 7) or the pianist unable to stop her rapid motions at either end of the keyboard (no. 14), sometimes to a laid-back jazzy feeling (no. 11) or quasi-improvisation (no 10); there are dance-like numbers too (4 and 19). The set ends with the longest bagatelle, a chromatic meditation over the open fifths of the cello and low register of the piano.

• Carey: Bagatelles; facsimile 

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A quiet meditation on the peaceful Baltic Sea, and the first piece I composed at the Visby International Centre for Composers’ in Visby, Gotland, arriving there after a three hour ferry ride from the Swedish mainland.

• Carey: Baltic Song; facsimile 

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