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This piece was composed in close collaboration with Andrew Sparling whose facility in using quarter-tone fingerings made it possible to experiment with these to produce music which exploits their timbral and colouristic qualities. It was stimulated by a return visit, following a seven-year absence, to New Zealand in 2002. Imagery of the sea is strong within its musical/poetic discourse and the piece is broadly structured over a cycle of seven ‘intensity waves’. The title is shared by an earlier work […and… 11] for 12 players (composed for Lontano in 2002). The link between these contrasting works is the morphology of the wave, encapsulated as a sonic envelope of aspirate (a) – resonant (n) – explosive (d), along with the extremes of space that are characterised in the music by extreme contrasts in dynamic, register and motion. Sparling has performed and recorded the piece in a number of different realisations. In April it was performed by Australian player Richard Haynes at the TURA International Festival in Perth and broadcast by ABC.

• Ker: [...and...1]; computer-set 

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• diffracted terrains: Chamber Music of Dorothy Ker  Year: 2007 

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I did intend to sit down and compose an orchestral epic. I really, really DID, honest. Could I help it that as soon as I made that decision, the saxes started up a 1920s tea dance in my computer?! Only it’s not all sweetness and light and good ol’ days, in fact it sometimes gets a little murky in there, to say the least…

• Audain: A Charleston Kick With Steel Caps; computer-set 

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• Audain: A Charleston Kick With Steel Caps; computer-set 

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• Two works by Yvette Audain 

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a furred tail upon nothingness for solo oboe was written for Slovene oboe player Matej Sarc and forms part of the cycle ‘Canto 2’ for wind quintet. The entire cycle was premiered at the 2010 Slowind Festival in Ljubljana, Slovenia by the Slovene wind quintet Slowind.

• Hall: a furred tail upon nothingness; computer set 

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• Hall: a furred tail upon nothingness; computer set 

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Suite of pieces with poems that can be read between movements or omitted.

• Jagger: A Nursery of Pain; facsimile 

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• Norman: A Short Suite; computer set 

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• Norman: A Short Suite; computer-set  Year: 2007 

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• Philip Norman: A Short Suite; video 

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This short work for solo flute was written in 2007 and is dedicated to my Grandmother, Mary Kingma (1917 – 2005). It was inspired by (but is not necessarily a direct depiction of) part of a poem that she wrote (published by New Zealand Art Press in the anthology New Beginnings in 1986), the last line of which I have used as the title.

They are waiting for me, the sparrows.
And so I throw the crumbs and watch.
So busy, so quick, so hungry.
After a while only the green of the grass is left.

Ben Hoadley

• Hoadley: After a while only the green of the grass is left; facsimile 

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‘Anake’ – Maori for alone – is a set of three pieces. The first contrasts fragmentary ideas with slower wide-ranging melodic lines. These ideas are extended into a shimmering virtuosic diversion in the second piece, and the third turns the slower music into a desolate lament. This third piece was written with a line from Federico Garcia Lorca’s lament for the bullfighter Ignacio Sanchez Mejias in mind: ‘Bones and flutes sound in his ears’.

• Lyell Cresswell: Anake - downloadable PDF 

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• Lyell Cresswell: Anake - hardcopy score 

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• 175 East vol. 4  Year: 1999 

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• Lyell Cresswell: Anake and other works  Year: 2000 

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The title Anxome is a contraction of the word “manxome”, from the phrase in Lewis Carroll’s The Jabberwocky: “long time his manxome foe he sought”. The piece is descriptive of a state of mind: at times anxious and shy, but also playful and cheeky. It was premiered in The Committee’s ‘Lightshift’ concert. Andrew Uren performed it from a high balcony, behind the audience, who were in the dark.

• Willis: Anxome; computer-set 

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• Willis: Anxome; computer-set 

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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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Ars Moriendi investigates the wide range of the bass clarinet through a four-part chorale texture with microtonal inflections and elaborations. From the tentative material at the beginning flowers more assertive proclamations in the dying moments of the piece.

• Norris: Ars Moriendi; computer set 

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• Michael Norris: Ars Moriendi 

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