Love.Lock.Nestle.

A work for solo flute and soundtrack. The title consists of synonyms referring to ‘holding on’, alluding to the interaction of the flautist with her flute and also to the soundtrack. The playing techniques frequently rely on the rolling of the flute blowing into the instrument at different angles. The ‘holding on’ can be seen both as a metaphor for a delicate dance, while also trying to keep up with a ‘moving’ soundtrack. It has a concealed, pulse-like character, with pulses mostly scattered throughout the work, making consecutive ones an infrequent occurrence. This absence does not prevent the meticulous following of the soundtrack and its synchronisation. This supports an ongoing goal of the composer working towards a more involved and musical ‘coming-together’ of the electronic and acoustic, without the use of, for example, a click track. The soundtrack thus functions as both an aesthetic( sound/musical world) and practical artefact (cue provider/machine).The soundtrack is constructed from a recorded session in which the playing possibilities and extended flute techniques of the flautist Liesl Stoltz, for whom the piece was written, were explored.

The inclusion of the extreme tremolos is the result of Stoltz' demonstration and tailored to her and her flute's abilities. Having said this, the perfect execution of altering pitches is not as important as its 'effect' and other emergent by-products.

The theatrical element should be performed with intention (sharply) while still resting the flute on the thumb. The counting down should be clearly readible to an audience.