1992
29 NaHEEtoh Koorahboo 1992 CD 1m
This one minute work for radio was commissioned by Evos Music for the 1991 ArtRage Festival. It is one of my 'cypher' works in that musical events from the micro to macro level are connected to a central nine digit cypher. In this case the material includes; a collection of samples - the word for Nightclub in Japanese and English (hence the title) and some other cultural icons; a fake Gagaku Orchestra and three Minki Whales; a 'koto in a cave' of course a nightclub. I had recently visited Japan and this short piece forms a kind of small hommage to Japan's energy (and strangeness).
This one minute work for radio was commissioned by Evos Music for the 1991 ArtRage Festival. It is one of my 'cypher' works in that musical events from the micro to macro level are connected to a central nine digit cypher. In this case the material includes; a collection of samples - the word for Nightclub in Japanese and English (hence the title) and some other cultural icons; a fake Gagaku Orchestra and three Minki Whales; a 'koto in a cave' of course a nightclub. I had recently visited Japan and this short piece forms a kind of small hommage to Japan's energy (and strangeness).
28 Solar/Lunar Music 1992 Percussion Quartet 20
Solar/Lunar Music, as its title suggests, is comprised of two types of music, representing not opposites, but different orientations or planes. For example: Stillness/Motion; Dream/Wakefulness; even Female/Male. The two planes inhabit different, but not mutually exclusive soundworlds: the upper plane tending to be dynamic and assertive is played on conventional unamplified percussion instruments; and the lower plane is characterized by a more static and mysterious music played on a range of artificially altered instruments (octave displaced-reverbed timpani and watergong; ring modulated windchimes, and synthesized and sampled sounds).
Solar/lunar music is the last of my five Cypher works in which the same nine digit numerical pattern is used as the basis for the organisation of its structure from the most micro-rhythmic structures to the overall formal shape. The pattern like a strand of DNA, determines the general characteristics of the music leaving its fingerprints in every corner, yet the more closely it is examined the more rich variety can be found in the way the shape is expressed.
In this way the form of the lower plane is the same as that of the upper plane in reverse, and the form of each determines the way in which they interact, to continue the analogy: spiralling around each other like the coils of a DNA molecule.
Solar/Lunar Music was commissioned by the Nova Ensemble with assistance from the Western Australian Department of the Arts.
Solar/Lunar Music, as its title suggests, is comprised of two types of music, representing not opposites, but different orientations or planes. For example: Stillness/Motion; Dream/Wakefulness; even Female/Male. The two planes inhabit different, but not mutually exclusive soundworlds: the upper plane tending to be dynamic and assertive is played on conventional unamplified percussion instruments; and the lower plane is characterized by a more static and mysterious music played on a range of artificially altered instruments (octave displaced-reverbed timpani and watergong; ring modulated windchimes, and synthesized and sampled sounds).
Solar/lunar music is the last of my five Cypher works in which the same nine digit numerical pattern is used as the basis for the organisation of its structure from the most micro-rhythmic structures to the overall formal shape. The pattern like a strand of DNA, determines the general characteristics of the music leaving its fingerprints in every corner, yet the more closely it is examined the more rich variety can be found in the way the shape is expressed.
In this way the form of the lower plane is the same as that of the upper plane in reverse, and the form of each determines the way in which they interact, to continue the analogy: spiralling around each other like the coils of a DNA molecule.
Solar/Lunar Music was commissioned by the Nova Ensemble with assistance from the Western Australian Department of the Arts.
27 Invisible Symmetries 1992 guitar 9m
Invisible Symmetries for solo guitar belongs to a series of works exploring systems of organic growth that result in different outcomes from the same generating pattern. In each of these 'cypher' pieces, the generating pattern (532214451) is the basis on which all parameters of the music from the large scale to the small scale are constructed. The character of the sections varies from 'motor rhythm' to very intimate expressive rubato to bravura, taking in a wide range of the tonal, contrapuntal and rhythmic qualities of the guitar. Although I have written for the guitar on many occaissions in an ensemble situation, this was my first extended solo work for the instrument. My special thanks must go to Peter Ellis for his collaboration in creating this work.
Invisible Symmetries for solo guitar belongs to a series of works exploring systems of organic growth that result in different outcomes from the same generating pattern. In each of these 'cypher' pieces, the generating pattern (532214451) is the basis on which all parameters of the music from the large scale to the small scale are constructed. The character of the sections varies from 'motor rhythm' to very intimate expressive rubato to bravura, taking in a wide range of the tonal, contrapuntal and rhythmic qualities of the guitar. Although I have written for the guitar on many occaissions in an ensemble situation, this was my first extended solo work for the instrument. My special thanks must go to Peter Ellis for his collaboration in creating this work.
26 A Move in the Dark [1992] ten. sax. WX11, e. guitar, bass and drums 7m
25 Cypher Pitches Piece: Piano Geography 1991 piano 1m
This work was intended to explore the geography of the piano in the most extreme way possible within a short duration and only ten fingers. The material is derived from the symmetry of the highest and lowest notes of the piano (C and A) and the two ‘middle’ notes (Bb and B). Despite CPII’s obvious melodic appeal and inticing final section (including the marking ‘with renewed violent vigorous ffff erociousity’) the live debut of this work remains unscheduled...
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cypher piece II uses the pretext of exploring a feature of the piano’s geography - the two most extreme notes (A and C) and the two most central notes (B and Bb) - to (once again) create the time honoured variation motive Bb A C B (spelt BACH in German). Its ‘fractal’ method of successive formal subdivisions was used as a study for the creation of many of the larger scale ‘cypher’ works on this recording. It was also partly inspired by Conlon Nancarrow’s piano studies for ‘player-piano’ partly explaining the fact that it is yet to be performed by a human.
This work was intended to explore the geography of the piano in the most extreme way possible within a short duration and only ten fingers. The material is derived from the symmetry of the highest and lowest notes of the piano (C and A) and the two ‘middle’ notes (Bb and B). Despite CPII’s obvious melodic appeal and inticing final section (including the marking ‘with renewed violent vigorous ffff erociousity’) the live debut of this work remains unscheduled...
or
cypher piece II uses the pretext of exploring a feature of the piano’s geography - the two most extreme notes (A and C) and the two most central notes (B and Bb) - to (once again) create the time honoured variation motive Bb A C B (spelt BACH in German). Its ‘fractal’ method of successive formal subdivisions was used as a study for the creation of many of the larger scale ‘cypher’ works on this recording. It was also partly inspired by Conlon Nancarrow’s piano studies for ‘player-piano’ partly explaining the fact that it is yet to be performed by a human.
24 Chase the Bird 1991 2 x s. sax, a. sax, t. sax, b. sax , pno, bass, drums 7m
chase the bird was largely a response to my first exposure to the post-modern quotation driven music of John Zorn. Different textures, tempos and orchestrations are thrown into the mix in this case (unlike Zorn), trying to achieve some kind of homogeneity, in the progression of disparate ideas. The ideas all emanate from a transcription of Charlie Parker's solo from his tune Chasing the Bird. Its the fourth piece of mine so far to explore other dimensions of Parker's work - preceded by Savoy Trifle (1988) and A-Synchronous Au-Privave (1989) and followed more recently by entropology (2002). It was originally written for alea new music ensemble and was performed (in part) at ArtRage 1991.
chase the bird was largely a response to my first exposure to the post-modern quotation driven music of John Zorn. Different textures, tempos and orchestrations are thrown into the mix in this case (unlike Zorn), trying to achieve some kind of homogeneity, in the progression of disparate ideas. The ideas all emanate from a transcription of Charlie Parker's solo from his tune Chasing the Bird. Its the fourth piece of mine so far to explore other dimensions of Parker's work - preceded by Savoy Trifle (1988) and A-Synchronous Au-Privave (1989) and followed more recently by entropology (2002). It was originally written for alea new music ensemble and was performed (in part) at ArtRage 1991.
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23 The Giant is Speaking Through You 1991 perc. and electronics 4m
The Giant is Speaking Through You [1991]was a musical response to a strange dream concerning initiation into Zen Buddhism, that I experienced the night before visiting Japan in 1991. The music attempts to recreate the sensations and dimensions of the dream's images. The structure of the work is based on the shape of the Ryoanji Stone Garden in Kyoto, and the words 'The Giant is Speaking Through You' that were both mentioned in the dream. It was written for percussionist Paul Tanner, to whom it is dedicated. |
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22 Big Picture 1991Reeds/Electronics, Electric Guitar and Percussion 26m
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21 Cyphers of the Obscure Gods 1991 t. sax, vcl, perc. and synth 5m
Cyphers was inspired by two paintings by Surrealist Painter Max Ernst:The World of the Naïve and The Obscure Gods. The music like the paintings, explores the idea of a continously encoded universe full of signs and messages. It is one of series of 'cypher works' dating from the early 90s, each exploring idea of generating all parameters of the music from the large scale to the small scale. The work's brash colours and several nods towards funk and jazz were a response to performing the music of Smetanin (his punchy Ladder of Escape and Undertones), and also the experience of hearing Andriessen's Worker's Union performed in front of a crowd of bikies in a run down cinema in Salzburg. Cyphers of the Obscure Gods originally was written for Alea. |
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20 Zealous Activity 1991piano 1m
Zealous Activity was written as part of Red House Edition's 'Australian Piano Miniatures' project. The work eventually took its place as the seventh page of book I (each work was restricted to a single page). The Australian Piano Miniatures project grew over the following years to include a further 2 books, 42 pieces in all and a CD recording of the entire collection by Michael Kieren Harvey. It is still one of the highest selling Australian music publications ever produced. Zealous Activity has remained one of Michael Kieren Harvey's favourites from the series and has been performed live by him a number of times - including concerts for the Warsaw Spring Festival. The work's opening phrase - an additive melody a la Andreissen - was the starting point for a number of my works during the 90s.
Zealous Activity was written as part of Red House Edition's 'Australian Piano Miniatures' project. The work eventually took its place as the seventh page of book I (each work was restricted to a single page). The Australian Piano Miniatures project grew over the following years to include a further 2 books, 42 pieces in all and a CD recording of the entire collection by Michael Kieren Harvey. It is still one of the highest selling Australian music publications ever produced. Zealous Activity has remained one of Michael Kieren Harvey's favourites from the series and has been performed live by him a number of times - including concerts for the Warsaw Spring Festival. The work's opening phrase - an additive melody a la Andreissen - was the starting point for a number of my works during the 90s.