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• Lardelli: Arrangements; computer set 

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• Lardelli: Arrangements; computer set 

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• Dylan Lardelli: Arrangements; audio 

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• Dylan Lardelli: Arrangements; video 

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9 Miniatures based on Art Works in the Wallace Art Collection and on display at the TSB Bank Wallace Arts Centre at Pah Homestead in August 2010.

• Chris Adams: Art Miniatures - downloadable PDF 

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• Chris Adams: Art Miniatures - hardcopy score & part 

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• Chris Adams: Art Miniatures; video 

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• Luca Manghi: Quays  Year: 2012 

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• Rimmer: At the Base of the Whirlpool; computer set 

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• Rimmer: At the Base of the Whirlpool; computer set 

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• Rimmer: At the Base of the Whirlpool; computer set 

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• Rimmer: At the Base of the Whirlpool; computer-set 

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• Rimmer: At the Base of the Whirlpool; computer-set 

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• 175 East vol. 5 

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• Aucott: At the Fair; computer-set 

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• Aucott: At the Fair; computer-set 

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• Little Dancings - a selection of flute music by New Zealand composers  Year: 1998 

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An “aubade” is a morning song; counterpart of a nocturne, it is literally a “song of the dawn.” The brightness of this Aubade is in simplicity, calmness, and tonal warmth. Written as an afterthought to the Rococo Sonatina, it shares some of the same influence of light jazz and impressionism, yet melded more to a modern chamber music aesthetic than an ancient one.

The piano opens with a simple three-note theme over a calm progression of seventh chords. Echoed by the flute, the theme develops into a more flowing and graceful line, ultimately resolving on a wistful note. A brisk, bird-like section follows, elevating the mood as the flute flutters and the piano scurries. A pensive cadenza leads the music back to the serene calm of the introduction, which leads to a final jazz progression that concludes the music in a different key.

• Goss: Aubade; computer-set 

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• Goss: Aubade; computer-set 

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• Thomas Goss: Aubade 

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These six Chorale Preludes are arranged from Bach’s Orgelbüchlein, while Divisions on a Bach Pasacaglia Bass are from Bach’s organ Passacaglia and Fugue. The Preludes and Divisions may be played as a set, or as individual pieces.

• Farquhar: Bachiana; facsimile 

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• Farquhar: Bachiana; computer set 

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• Farquhar: Bachiana; facsimile 

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• Farquhar: Bachiana No. 2; computer-set 

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• Farquhar: Bachiana No. 2; computer-set 

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• Farquhar: Bachiana No. 2; computer set 

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• Farquhar: Bachiana No. 2; computer-set 

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––“Kisses, even to the air, are beautiful” (Drew Barrymore)

Of all the physical relationships between performers and instruments, that of flautist and flute most closely resembles that of the kiss. The shape of the embouchure itself, lips rounded in the shape of an “O”, ready to go to work, and the sometimes erotic, but always sonically evocative, use of the tongue in contemporary flute music thus became the initial inspirations for the composition of this work. The use of the “tongue ram” in the section “French Kiss”, for example, speaks for itself, whilst the lip pizzicatos and triple tongueing in “Vampire Kiss” are more abstract in suggesting the love bites of those creatures of the night with their sharp little canines. But, of course, kisses can also simply be fond, as in “Air Kiss” and “Peck,” or playful, as in “Butterfly Kiss” where I use fluttertongueing to mimic the tickling brush of eyelashes on a cheek. Kisses can also be completely chaste–even holy–as the quietly murmuring tremolos in “Kiss of Peace” suggest. Since many of my recent pieces employ symmetrical scales and symmetrically constructed background harmonies, I could not resist the impulse in the concluding section of the work to use those symmetries to create a musical parallel to that wonderfully symmetrical upside down kiss from the 2002 Spiderman movie in which Spiderman (inverted) and Mary Jane Watson (upright) share an iconic kiss in the rain. In the end, as the variety of kisses in my piece implies, the idea of the kiss reminds me of music in the kaleidoscopic flexibility of its meaning and how even the simplest of kisses or compositions might evoke the vastness of human experience. As Jimi Hendrix once said, one can even kiss the sky. For now I’ll just settle for kisses on the wind.

• Stephan Prock: Baci sul vento - hardcopy score 

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Badb (pronounced ‘badhv’ where ‘dh’ is a voiced fricative, as in ‘these’) was one of a trio of war-goddesses from Irish legend. She assumed variously the guises of a beautiful woman, an old hag, and a carrion crow. Her manifestation in the latter form was an omen of death. Before a battle she would appear in anticipation of the carnage, and as the battle took place, would flit around the heads of the warriors. Afterwards, she would feed on the corpses strewn across the fields. Like the other two battle-furies, Macha and the M’rr’gan, Badb was both sinister and sexual; she prophesied the end of the world, the fall of the gods and an endless reign of chaos. There are three distinct types of material in this piece, portraying the three juxtaposed personalities of Badb: the sinuous, seductive syrensong of sing-flute representing the mysterious, beautiful femme fatale who befriended the Irish warrior C’ Chulainn, then lured him to his death; the unearthly shrieks and battle-cries of the old hag, which were said to arouse fear and dread in the living; and the hideous crow, pecking at the flesh of the slain with bloodied maw. Much of the piano’s harmonic structure is derived and interpolated from chords representing the crow in Olivier Messiaen’s Catalogue d’Oiseaux, while the notes B, A and D feature prominently through the piece.

• Norris: Badb; computer-set 

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• Norris: Badb; computer-set 

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• Taurangi - New Zealand Music for flute and piano  Year: 2004 

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