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After Resonance Blues explores the Korean idea of aftertone via interval-colour resonances and string after tones (partial un-dampening, prepared bass strings) as well as a Japanese intensification structure. Both of these relate to the idea of timbre grittiness and chordal intensification structure of the twelve-bar structure/grittiness in the blues. A spacious fourth resonance, very slow, at the very opening eventually opens out into a frenetic paced fifths sequence using blues riff patterns but intermingled with an interval-colour richness at the end-time climax. An after resonance string stimulation returns at the end to mirror the beginning prepared notes. The work contains transformed elements of Korean Ritual music; the mood is tinged with lyric sadness (“blue”) in that it reflects an inner emotion over the death of a Korean friend’s father prior to embarking on the work.

• Crossman: After Resonance Blues; computer-set  Year: 2007 

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• Mozart Fellows Concert 2007 - Vol. 1 

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• After Resonance Blues - Bruce Crossman 

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• Double Resonances - Bruce Crossman  Year: 2008 

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• Crehan: Five Lyric Pieces; computer-set 

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• Crehan: Five Lyric Pieces; computer-set 

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“Oriori” is the Maori word for “lullaby”, and there are many traditional chants which are labelled as such. However the starting point for this piece is a piece from the more recent tradition of European-influenced Maori music. Hine e Hine is a gentle lullaby attributed to Te Rangi Pai (Fanny Rose Howie 1868-1916). Under the stage name The Princess Te Rangi Pai, she toured widely overseas as a singer, having studied in London and given her debut recital in Liverpool. Ill health eventually curtailed her career after only five or six years. This set of variations on Hine e Hine was written in 2005 following a approach from Argentinean pianist Alicia Weingarten for some New Zealand piano music. Not having written much piano music, and nothing recently, I decided that I would write something new. Ms Weingarten had also mentioned an interest in Maori music, so I felt combining the two ideas would be an interesting challenge. The piece begins with a short prologue which develops out of some of the harmonies of the theme. Simple tonal chords are superimposed over a low pedal note. The presentation of the theme is done is an already quite decorated manner. Constant semiquavers surround the theme in the upper parts of the texture. The first variation continues in similar manner, but with faster patterns of notes surrounding the theme. The second variation is more dramatic, echoing some of the chordal ideas of the prologue. The third variation is a slow and lyrical melody which develops out of the shape of the opening notes of Hine e Hine, set over an ostinato in the left hand. The fourth and final variation is a fast and light scamper again developing ideas from the opening notes of the theme’s melody. Towards the end of this variation the music is interrupted by bold chords derived from the harmonic and melodic ideas of the final phrases of the theme. The piece ends with a return to the music of the prologue, presented with few changes until an extended ending section which includes a final hint of the theme’s music.

• Hamilton: Oriori; computer-set 

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• Hamilton: Oriori; computer-set 

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The title refers to the musical material first heard in the second half of the piece, which is a reprise of the theme of the fifth of my Five Breaths in the New Year 2004 for piano solo. The mood of the earlier piece however is quite different, being slower and meditative; here by contrast it is monumental and militaristic. The piece’s opening on the other hand is much gentler; a spacious melody is heard over the sustained broken chords of the secondo part. I am indebted to Andy Gomez for the jazz riff upon which it is based.

Composed in Yogyakarta in January 2005 for the concert given the following month at Theatre Utan Kayu, Jakarta of my pieces for piano for two and four hands. The performers on this occasion were Ross Carey and Andy Setiawan.

• Carey: Reprise; facsimile 

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• Carey: Reprise; facsimile 

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