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• Biddington: A New Zealand Fable; computer set  Year: 2007 

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• A New Zealand Fable - Eric Biddington  Year: 2008 

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• Biddington: Adagio for Bassoon and String Orchestra; computer set 

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• Biddington: Concerto Movements and Music for Strings 

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• Eric Biddington: Rendez-vous  Year: 2007 

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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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‘Agitato’ is a conventional musical indication for a restless or agitated mode of performance. This is often interpreted as forward-momentum without any conscious acceleration, affecting an uneasy connection with the beat. In this piece the Agitato aspect is composed into the musical fabric as constant gestural and rhythmic variation.

• Gendall: Agitato; computer-set 

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• Gendall: Agitato; computer-set 

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• Gendall: Agitato 

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• Biddington: Allegro for Trumpet and String Orchestra; computer set 

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• Eric Biddington: Rendez-vous  Year: 2007 

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• Biddington: Concertos for Flute, Clarinet, Oboe, Viola and 2 Concerto Movements  Year: 2010 

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• Smythe: Alleluia; computer-set 

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• Smythe: Alleluia; computer-set 

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• Smythe: Alleluia - live concert 

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Based on the opening line of song IV from David Farquhar’s song cycle “In despite of death”

• Harris: And death shall have no dominion; computer-set 

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• Harris: And death shall have no dominion; computer-set 

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• Ross Harris: And death shall have no dominion; audio 

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A prelude.

• Watson: aperitif; computer-set 

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• Watson: aperitif; computer-set 

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The initial inspiration for Aurum came from a 1976 Bridget Riley painting of the same name. I was fascinated by the vibrant interplay of colour displayed in the painting, with wavy lines of bright yellow and white set against darker shades of blue. Each line appeared clear and separate, yet from a distance they would all merge into one luminescent texture.


As the piece progressed it took on a life of its own, however throughout the composition process I was chiefly concerned with the interaction between different instrumental and harmonic colours, and the sonic texture these interactions produced. The word ‘aurum’ itself means gold, and therefore evokes images of brightness, brilliance and wealth, but looking at Riley’s painting I noticed a darker layer that seemed to seep up from beneath the brilliance, perhaps portraying a darker side to this precious metal.


Simon Eastwood

• Eastwood: Aurum; computer-set 

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• Eastwood: Aurum; computer-set 

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• Hextall: Beating Cry; computer-set 

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• Hextall: Beating Cry; computer-set 

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