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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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Much of the surface of this piece inhabits an area on the brink of silence. This is an extremely unsafe area for the performer, because he or she constantly risks losing the sound altogether. It is hoped that the soft dynamic levels focus the listener’s attention on the microscopic shifts in timbre, pitch and loudness that are the central material of the composition. Below the surface, rather than employing an overall unifying structure/process, several processes are active simultaneously, and much of the composition is the result of these processes tearing at each other while competing for priorty. There is an “organic” process of growth, that conditions the placement of events in time, as well as the pitch and timbral relationships between these events. Superimposed on this structure is a spectral analysis of the title of the piece, taken from Ezra Pound’s “Cantos”, which also impacts on the placement of events and their internal shape, effectively “damaging” the underlying organic organisation. The third main layer relates to pitch organisation and is based on an analysis of Edgard Varese’s “Density 21.5”. This layer is of particular importance for the “grace note” figures that abound, figures which exist “outside” the main body of the composition, but give important structural clues relating to both the first and second processes mentioned above. “And, out of nothing, a breathing, hot breath on my ankles” was written for, and is dedicated to Ales Kacjan.

• Hall: and, out of nothing, a breathing, hot breath on my ankles; facsimile 

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• Hall: and, out of nothing, a breathing, hot breath on my ankles; facsimile 

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• Neville Hall: Selected Works 

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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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This short work began from the simple idea of a waltz-like piece. The music is intended to suggest a dream-like atmosphere, perhaps a half-remembered memory of something that happened long ago. Other than that, there is no specific programme to the music. Musically the piece is based around three principal ideas: the interval of a minor third (often heard in a simple oscillation of pitches), a rising arpeggio of a minor 9th chord, and a more angular melodic fragment developed from the opening bars. The music opens with music marked ‘pensively’, then becomes ‘a little more decisive’. The climax of the work features pitches at the top of the flute range, and the final section is marked to be played ‘like an afterthought’. ‘Dreamwaltz’ won the New Zealand Flute Society’s composers’ competition for a test piece for their 2006 conference.

• Hamilton: Dreamwaltz; computer-set  

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• Hamilton: Dreamwaltz; computer-set  

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Works en abyme bear within themselves miniature reflections of themselves. The term mise en abyme, borrowed from the language of heraldry by André Gide, is described by Lucien Dällenbach in Le récit spéculaire (1977) as an ‘aspect enclosed within a work that shows a similarity with the work that contains it’. The French word abyme (a variant spelling of abîme) means ‘abyss’, suggesting ideas of depth, increasing velocity, descent, infinity, interiority, spiraling, vertigo… These suggestions are manifested in this work in nested descending scales that increase in velocity and occurrence, though as material feeds back on itself these structural markers are increasingly obscured.

en abyme was commissioned by Mette Leroy as part of her Doctor of Musical Arts performance and thesis research, and was premièred by Leroy, under the auspices of the Karlheinz Company, at the University of Auckland in May 2007.

• Holloway: en abyme; computer-set 

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• Holloway: en abyme; computer set 

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• Samuel Holloway: en abyme 

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• Ritual Auras - Karlheinz Company  Year: 2011 

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This stylised, visceral ‘take’ on some of the composer’s favourite Len Lye texts achieves a heightened expression to match the whimsy and wackiness of his wonderful words.

Notes taken from Ritual Auras, Atoll CD (ACD 842)

• Eve de Castro-Robinson: Knife Apple Sheer Brush; audio 

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• New Zealand Music for Woodwind 

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• Ritual Auras - Karlheinz Company  Year: 2011 

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• Rimmer: Metamusic; computer-set 

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• Rimmer: Metamusic; computer-set 

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• Rimmer: Metamusic; computer-set 

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• NZ Premieres 2008 Vol. 2 

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• Rachael Morgan: Nyx - downloadable PDF 

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• Rachael Morgan: Nyx - hardcopy score 

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• Works by Rachael Morgan 

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Sonatine – Dialogue between Wind and Snow was written in December of 2002. This piece was meant to be a sister piece of a much earlier miniature called Dawn (1994). But as it was finished and performed, I thought it stood on its own quite well. A tonal and more conventional style was used in order to fit the two pieces together.

This piece has a carefree, fresh, and uncomplicated character. The musical ideas are often presented in polyphonic textures to give a sense of dialogue. I had a good time writing it and it was finished quite quickly. The winter of 2002 was exceptionally snowy and windy in Cincinnati where I was residing at the time, and some of the ideas came to me while I was watching the snow through the window.

This work exists in 2 versions, one for flute and piano, and another for violin and piano. I have performed both versions with two exceptional performers: the Russian flutist Alexander Viazovtsev and violinist Yang Liu.

• Gao Ping: Sonatine for flute and piano "Dialogue between wind and snow" - downloadable PDF 

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• Gao Ping: Sonatine for flute and piano "Dialogue between wind and snow" - hardcopy score 

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• Adrianna Lis: Rozmowa / Dialogue  Year: 2012 

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The Watertable was written for Bridget Douglas and was commissioned by the 2002 New Zealand Flute Society for the flute convention in July 2002. The work was written with the assistance of Creative New Zealand.

While the work is written in a metred time, the player is free to modify the durations in order to find a flow in the phrases, which suits his/her interpretation.

• Cree Brown: The Watertable 

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• Cree Brown: The Watertable; computer-set 

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• Cree Brown: The Watertable; computer-set 

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

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