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• Powell: Father's Telescope; electroacoustic part 

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• Powell: Father's Telescope; computer-set 

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• Kit Powell: Father's Telescope; audio 

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• Harlow - Powell: Radio NZ Archive Recordings 

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for 3 sopranos, 3 altos, male speaker, alto fl, piccolo ,E-flat clarinet ,B-flat clarinet , bass-clarinet, horn, percussion (xylophone, timpani, 5 temple blocks, tambourine, 15 maracas, windchime, clicker,marimba, cymbals, balloons, pingpong balls) hp,pf. Extras: 13 balloons (with pins); brick (for piano pedal); 100 plus table tennis balls

This work for mixed ensemble and female voices drew its inspiration from a series of paintings by Ken Robinson which were hung up behind the performers. “Drawing on Spanish texts from Pablo Neruda and St John of the Cross, Eve de Castro-Robinson has produced some wonderfully exotic music. Timbres are perfectly judged, from the vibrant exoticism of alto flute in Edged to the mysterious ceremony of horn and timpani in Black Drop and solo lines have a tremendous sense of tautness and cohesion.” William Dart, Music in NZ

• de Castro-Robinson: Five Responses; facsimile 

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• de Castro-Robinson: Five Responses; facsimile 

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• Eve de Castro Robinson: Works 3 

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• Becker: In Queen Beatrix's Garden; facsimile 

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• Pepe Becker: Many Waters  Year: 2000 

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alto (male or female), tenor, baritone, bass.

• Farquhar: Magpies and other Birds; facsimile 

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• Music by David Farquhar  Year: 1993 

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one of the mezzo sopranos needs to be familiar with performing Maori waiata.

This chamber work, composed in 2002, is based on the music drama of the same title, with music by Helen Fisher, Maori composition by Wi Kuki Kaa and lyrics by Lauris Edmond. This shorter work for two sopranos, kai-karanga, string quartet, flute, bodhran and Maori instruments was produced for a CD on the Atoll label (ACD 203). This work focuses on some Maori and Pakeha women’s stories surrounding the events of the 1843 Wairau tragedy. These are stories of compassion, which have a resonance for New Zealand today, showing a way forward for reconciliation and racial harmony.

• Fisher: Taku Wana - the Enduring Spirit; computer-set 

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• Fisher: Taku Wana - the Enduring Spirit; computer-set 

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• Fisher: Taku Wana  Year: 2003 

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The poem Tangi was written by Megan Simmonds, a New Zealand poet who lives in the Bay of Plenty. I wanted to explore the use of vocal overtones in this piece; they have often been connected with the spiritual or other-worldly in the various cultures where the technique is practiced.

A tangi (or tangihanga) is a Māori funeral ceremony. The opening material, and position of the singers, is influenced by the Māori powhiri, where visitors are received onto the marae in a customary series of calls and songs by the tangata whenua, each reciprocated in turn by the visitors.

• Shortis: Tangi; computer-set 

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• Shortis: Tangi; computer-set 

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• Carol Shortis: Tangi; audio 

  Media on Demand | Embedded
  

• Baroque Voices: Alleluia: a newe work! 2007  Year: 2007 

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• Ritchie A.: The Charge of Parihaka; facsimile 

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• Parihaka 

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• Music by Anthony Ritchie 

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sop, m-sop,A,T,Bari,B choir or sextet. Optional melody instrument - flute. If one soprano has a virtuoso high light voice that could undertake the flute line, the upper voices in 1 and 5 can be rearranged between soprano 2 and alto.

The Virgin and the Nightingale was commissioned by Jones and Co with funding from the Music Board of the Australia Council, and first performed by The Song Company in 1992. The poems are taken from Fleur Adcock’s collection of translations of mediaeval poems published by Bloodaxe Books as The Virgin and the nightingale, with kind permission of author and publisher. The five songs all focus on birds; the flute part in Love’s Agent is a (transposed) transcription of a nightingale song. The settings are for SSATTB choir. The songs can be performed as a set or separately; some of them are suitable for choir.

• Whitehead: The Virgin and the nightingale; computer-set 

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• Whitehead: The Virgin and the Nightingale; facsimile 

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• The Laughter of Mermaids – The Song Company 

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• Becker: Virgo One; facsimile 

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• Pepe Becker: Virgo One; audio 

  Media on Demand | Embedded
  

• Pepe Becker: Many Waters  Year: 2000 

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• Becker; From the far point of the rising of the sun (Part I)  Year: 2005 

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• Baroque Voices: Brother Sun, Sister Moon  Year: 2011 

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clarinet in B flat; trumpet in C; drum-set - bass drum, snare drum, hi hat, 3 tomtoms, 2 muted cowbells, woodblock

Recently my curiosity was sparked as to the origins of Maori action songs – a hybrid form combining traditional movements, borrowed Western melodies and Maori lyrics. It seems that I owe my encounter with them to an enthusiastic physical education specialist in the late 1940’s who introduced them into the public school system along with Maori children’s games, noting that they were “exceedingly good for the body of the pakeha” (non-Maori). W is for is my response to that early time spent dancing and singing in a language which we were never taught to speak. The text is an excerpt from a Maori-English dictionary. It begins at waka (canoe) and passes through wakainga (true home, far distant home) and warawara (yearning), arriving finally at wareware – forget, forgotten, forgetful. The final line comes from the Belgian singer Jacques Brel’s ballad “On n’oublie rien” – you forget nothing.

Juliet Palmer

• Palmer: W is for; computer set 

  Parts - written | Pdf - computer set
  
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• Palmer: W is for; computer set 

  Full score | Pdf - computer set
  
  $15.00
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• Palmer: W is for; computer-set 

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• Palmer, Juliet Kiri: Selected Works II 

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• Juliet Kiri Palmer: selected works 

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