Three Dances of Date and Time

“Three Dances of Date and Time” was completed at various points throughout 2001, and was first performed by the composer whilst in attendance at the Oxford Flute Summer School in 2002. Further performances of the work have been held at the Defence Force School of Music, along with a 2010 recording by the celebrated Australian Flute player, Christine Draeger.

The concept behind the work is based around the notion of giving the performer an exact perspective of both date and time in relation to the completion of each of the three movements, thus being able to establish a unique link between themselves and the music. For me personally, I remember the time quite vividly. I had just finished four years at Monash University, and was in a bit of hiatus before commencing employment with the Australian Army Band Corps. Needless to say, I had some spare time on my hands, so I decided to build up my catalogue of original works for Flute, and this piece is one of the results from that time.

Whilst some younger Flute players may not be able to trace their life back to 2001 (I’m starting to show my age!); they can certainly consider the most recent day, month and time (15 March - 12:59pm, 22 April - 12:21pm, and, 12 July - 10:01pm), and see if that experience adds another dimension to their performance.

The first movement is written in the style of a dramatic cadenza. This movement is deliberately spiced with frequent changes in dynamics and rhythmic activity in order to infuse images of movement, shape and colour to the listener.

The second movement is the strongest of the three at referencing a tonal centre. Structured in a loose ternary form, this movement contrasts the first and third movements through the use of smoothly connected phrases, subtle changes in dynamics, and an opportunity to explore specific tone colours in the lower register.

The final movement utilises the full spectrum of the Flute’s compass, and incorporates a wide palette of dynamics and articulations. Repetition of melodic material is especially kept to a minimum in this movement, thus illustrating the unchangeable forward momentum of date and time through the presentation of fresh musical material.

“The 3 movements of “Three Dances of Date and Time” are well written for the flute - idiomatic, playable with ease whilst still challenging with detailed attention to dynamics and articulation which is evidence of a thoughtful approach to composition - and this is certainly something that I always look for in a piece of music. Each movement is distinct and well contrasted yet also “fits in” - which makes the three work as a whole.” - Johanna Selleck, 2002.