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Daniel Stabler  

'faccee'

Duration: 13' 00" Year: 2002
four movement work for english horn and string quintet

Score Sample
  • Instrumentation
    cor anglais, 2 violins, viola, cello, double bass
  • Programme Note

    ‘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.

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Dorothy Ker  

[...and...11]

Duration: 10' 00" Year: 2002, r. 2006
for twelve players

Score Sample
  • Instrumentation
    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
  • Programme Note

    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.

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John Rimmer  

Au

Duration: 13' 00" Year: 2002
concerto for bass clarinet and ensemble

Score Sample
  • Instrumentation
    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
  • Programme Note

    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.

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Jonathan Besser  

Gamjam 1

Duration: 11' 00" Year: 2002
improvisation for ensemble

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Jonathan Besser  

Gamjam 2

Duration: 14' 00" Year: 2002
improvisation for ensemble

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Jonathan Besser  

Gamjam 3

Duration: 11' 00" Year: 2002
improvisation for ensemble

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Victoria Kelly  

Ride

Duration: 12' 00" Year: 2002
music for short film

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Gareth Farr  

Taheke

Duration: 12' 00" Year: 2002
for flute and harp

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Gillian Whitehead  

Tom's Serenade to Ann Morris

Duration: 12' 00" Year: 2002
for oboe, violin, cello and piano

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Ross Carey  

Trio on Hymn Tunes

Duration: 10' 00" Year: 2002
for piccolo, clarinet in B flat/bass clarinet in B flat, and piano

Score Sample
  • Programme Note

    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.

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