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saxophone, trumpet, trombone, harpsichord, percussion (4 triangles, 2 cymbals, woodblock, guiro, ratchet, maracas, 2 bongos, 4 tom-toms, bass drum), viola, cello, bass

• de Castro-Robinson: A Resonance of Emerald; facsimile 

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• de Castro-Robinson: A Resonance of Emerald; facsimile 

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• de Castro Robinson: Works 1 

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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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• Meridan: fierce angel; computer set 

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• Meridan: fierce angel; computer-set 

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• Meridan: fierce angel; computer-set 

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• NZ Women Composers Vol. 2 

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• 175 East: Microchix and newer stuff 

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• 175 East Vol 7 

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• NZ Composers Compilation 

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flute (doubling piccolo), E flat clarinet (doubling B flat clarinet), B flat clarinet (doubling bass clarinet), trombone, 2 percussion, double bass, piano

Fission draws its name from the actions and reactions that characterise a lot of its material. The work was based on the concept of organised chaos ‘resolving’ to a chaotic organisation. Despite the apparently haphazard nature of the first section, it is in fact highly organised, while the last section, calmer and seemingly more ordered is in fact far less organised. The piano plays an important role providing much off the impetus for the introduction of new ideas and textures, introducing the first real melodic material in the solos of the middle section, and directing the harmony towards the greater resolution of the work’s end.

• Grant: Fission; computer set 

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• Grant: Fission; computer set 

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“Outcast, final ‘job description’ (see Robertson Davies). Viable though, anyone interested?”

The Chorale melody was written by Stravinsky in 1952, as a theme for organ improvisation by Marcel Dupre. I am grateful to Robert Craft and the Stravinsky Estate for permission to use it here. Stravinsky’s melody is played by the first trumpet in each of the three chorale settings. All three are canonic in treatment, with the texture increasing from two parts in Chorale 1 to four parts (plus a tuba bass-line) in Chorale 3. The two Interludes take off from the finale notes of the chorale. In contrast both are quick, with a somewhat Stravinskian rhythmic exuberance; Interlude 1 is scored for a trio (excluding the two trumpets), Interlude 2 for the full quintet.

• Farquhar: Homage to Stravinsky; facsimile 

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• Farquhar: Homage to Stravinsky; facsimile 

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flute, oboe, clarinet, bassoon, horn, trumpet, trombone, double bass

Edgard Varèse’s Octandre (1923) is arguably not trademark Varèse: missing are the menacing batteries of percussion that punctuate most of his important works. While the challenging idée fixe rhythmic unisons of works such as Ionisation are in evidence, in Octandre, melody is also to the fore.

The work is, to my ears, both clinical and expressive, and, after umpteen listenings, it remains modern and fresh. It is the one work above all others that I go to when seeking inspiration. So, as a means of perhaps peeling back a few layers of mystery surrounding Octandre and also as a way of demonstrating my gratitude to it, I have written this homage, using Varèse’s same instrumentation and three movement structure.

First Movement – a solo flute incites an angry mob.

Second Movement – ugly harmonies mingle with fairground-esque diversions and a sinking feeling.

Third Movement – whereas the first and the second movement used isolated, haphazardly-chosen fragments from Octandre to propel the discourse, this movement is anchored by motifs borrowed directly from the work, including the oboe, piccolo and bassoon openings of each of the first, second and third movements respectively and the brutal tutti rhythmic unisons of Varèse’s third.

As if to underline the composer’s reverence for Octandre, the final oboe note, taken from the stunning ending to Varèse’s first movement, is a semitone below that used by the Frenchman.

• Watson: Homage to Varèse's "Octandre"; computer-set 

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• Watson: Homage to Varèse's "Octandre"; computer-set 

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• Watson: Homage to Varèse's "Octandre"; computer-set 

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• Watson: Homage to Varèse's "Octandre"; computer-set 

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• NZ Premieres 2008 Vol. 3 

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• Watson: Homage to Varèse's 'Octandre' 

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• Watson: Homage to Varèse's 'Octandre' 

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piccolo, oboe, E flat clarinet, bass clarinet, bassoon, bass trombone, cello, bass

• Gardner: I like a bit of a cavort; computer set 

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• Gardner: I like a bit of a cavort; computer set 

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• James Gardner: Selected Works 

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2 oboes (cor anglais), 2 bassoons, 2 trumpets, 2 trombones

• Tremain: Murder in the Cathedral; facsimile 

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Octet

Composed in 1964, this wind octet is in three contrasting movements and is scored for the classical combination of pairs of woodwind and horns.
The work has as its inspiration the classical octets of Mozart and Beethoven although the main compositional influences come from the 1930’s ‘neoclassical’ soundworld of Stravinsky and Copland.

Octet was first performed at the Cambridge Music School in 1965.

• Rimmer: Octet; computer set 

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• Rimmer: Octet; computer set 

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