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• Mike Nock Trio Plus - Hear and Know  Year: 2011 

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This work for clarinet quintet in three movements was written following time spent in the north of Scotland, during which I visited the remote and desolate places that my family left behind when they emigrated from Scotland to New Zealand in the 19th Century. Although the music is not intended to be strictly descriptive, the image underpinning the work is that of an infinite shore that stretches from the line of steep cliffs at Badbea overlooking the North Sea, around the world to the rocky southern shores of Aotearoa New Zealand. The work draws on the tonal colour and extremes of pitch that are possible in the clarinet, and the extraordinary platform of sound of the string quartet.

• Webster: An Infinite Shore; computer set 

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• Webster: An Infinite Shore; computer set 

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• 5 Works by M Louise Webster 

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Strange to say, the luminous world is the invisible world;
the luminous world is that which we do not see.
Our eyes of flesh see only night.

Victor Hugo

• Meridan: an invisible spell; computer set 

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• Meridan: an invisible spell; computer set 

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• Mike Nock Trio Plus - Hear and Know  Year: 2011 

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At APRA’s Silver Scroll Awards, the winner of the SOUNZ Contemporary Award receives a surprise rendition of their work. The 2011 winner, Lyell Cresswell for his Concerto for Piano and Orchestra, has his work arranged and performed by The Heavy Metal Ninjas.

• Lyell Cresswell's "Concerto for Piano and Orchestra" arr. by The Heavy Metal Ninjas; video 

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• Adams, C.: Contemporary Triptych; computer set 

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• Adams, C.: Contemporary Triptych; computer set 

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• Chris Adams: Contemporary Triptych; video 

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• Chris Gendall: Eigene Gestalt - hardcopy score 

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• Chris Gendall: Eigene Gestalt - downloadable PDF 

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• Chris Gendall: Eigene Gestalt; video 

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F.S.M. could stand for: Fabricated Sheet Metal; Fault Summary Message; Federated States of Micronesia; Female Seeking Male; Fiji School of Medicine; Financial Services Marketing; Finite-state machine; Fire Safety Manager; Flying Spaghetti Monster; Franciscan Sisters of Mary; Free Speech Movement; Frequency Shift Modulation; Full Screen Mode and at least 250 other possibilities.

Hallelujah is used to express praise or joy.

It is conceivable that the title of this piece has some relevance to the music. It is less likely that this programme note will help the audience to determine the relevance of the title or compositional intent of the composer.

• Adams, C.: F.S.M. Hallelujah!; computer set 

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• Adams, C.: F.S.M. Hallelujah!; computer set 

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The work began as a series of four miniatures; however, as is often the case, matters have progressed somewhat beyond mere frippery.

All the movements seem to me to have a questioning quality to them which seemed to coincide with some philosophical angst of my own, the details of which are irrelevant. This is in no way programme music and I would merely like for the listener to perhaps reflect on questions in their own lives, whatever they may be.

I have utilised wordless soprano alongside some Latin verse. In particular the very opening of the Mass for the Dead and the first half of the In Paradisum from the same Mass which is sung in the original Gregorian Chant. My home town of Christchurch has suffered terribly during the past 12 months and I wanted somehow to reflect this in some small way.

• Young: Four Questions, No Answers; computer set 

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• Young: Four Questions, No Answers; computer set 

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• Kenneth Young: Four Questions, No Answers; audio 

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“One of the principal glories of the film is the score by John Psathas, in which genuine sweep and poetry are combined with affectionate send-ups of Ennio Morricone. It would be a major achievement for an experienced film composer; as a first film score, it’s little short of astonishing.” — Jim Svejda, Classical KUSC (Los Angeles)

• John Psathas: Soundtrack from Good for Nothing  Year: 2011 

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