In Brevity

Johnny Chang: OPERA:Monteverdi
OPERA: Monteverdi does not reference any actual composition of the Renaissance master Claudio Monteverdi. Rather it attempts to explore the gradual corruption of any original material over a long period of time. A Chinese whisper of sorts.  [In late- 17th century Latin, the word opera translates to works.]

Antonia Barnett-McIntosh: Outbreak
"Just carrying a ruler with you in your pocket should be forbidden, at least on a moral basis.  The ruler is the symbol of the new illiteracy.  The ruler is the symptom of the new disease, disintegration of our civilisation" - from 'Mould Manifesto against Rationalism in Architecture' by Friedensreich Hundertwasser (Architect, Kawakawa Public Toilets)

Mary Binney: Enfance
Aux heures d’amertume je m’imagine des boules de saphir, de métal. Je suis maître du silence.  [In hours of bitterness I imagine balls of sapphire, of metal. I am master of the silence].
This tiny fragment of text from Rimbaud's Illuminations beautifully encapsulates the juxtaposition of the magical, mystical and surreal images of remembered childhood against the bitterness, despair and corruption of reality, which permeate this work. Rather than attempting to respond to these juxtapositions through musical extremes, I have instead chosen to set the text in a relatively simple way, focusing on clarity of linear melodic material and avoiding any of the more dramatic or theatrical musical forms and effects. Although the piece can be divided into several short sections, it is effectively constructed around a single melodic line in the vocal part, which largely dictates the overall structure of the piece.
    
Rachael Morgan: Slice
A short study for guitar written for Dylan Lardelli and In Brevity. Cells of contained energy exist among calmer energy fields, but are never given the chance to combust.
    
Anton Killin: tor / tue
The gamelan is a percussion orchestra from Indonesia, made up of gongs, drums, metallophones, wooden xylophones, strings (bowed and plucked), bamboo flute, and voice.  No two gamelan-makers tune their instruments alike, thus the differences in tuning between ensembles has become an important part of the aesthetics of gamelan music.  This piece for guitar, kenong and saron exposes the discrepancies in tunings between the two traditional scales of Javanese gamelan, and also the Western tuning we are familiar with.

Phil Brownlee: Etude
The piece acts as a sounding-out of the performers’ musical personalities. A series of chords provides a framework, and an environment within which the musicians can improvise a dialogue. It is thus a study in the relaxation of compositional control, and the musical interactions which occur in the space which that opens up.

Hermione Johnson: “I am the Mailman”  
I am the postman who is bringing the mail without knowing what is in the letters.

Michael Finnissy (UK): Two Motets
Two motets - for guitar and voice. They are both settings of contemplative, religious (but non-liturgical) texts; and both are cast in a repetitive, rondeau-like form, making use of Gregorian chant. The work was first performed on 8th January 1992 at the Purcell Room, South Bank, London.

Translations of the Texts

I
You may see the innermost power of the Father, which
flows from the heart, like unto a face.
Praise be to you who look on that place where the
heart of Ages has its fountainhead.
O Thou Angelic host, who protect the people, whose
form glows in your countenance. And thou
O Archangels, who are counted in the secret five-fold
number: the seal of God's secrets.
Praise be to you who look on that place where the
heart of Ages has its fountainhead.
(HILDEGARD, Abbess of Bingen)

II
God hails thee, God hails thee, Maria! full of grace.
the Lord is with thee.
Blessed are Thoug among women, and blessed is the
fruit of they womb- Jesus.
Saint Mary! Mother of God! Pray for us sinners now,
and at the hour of our death.
Amen. Jesu. Amen
(ANONYMOUS, SARDINIAN, Adaptation of the Rosary)