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for flute, clarinet (doubling E flat, A and bass), bass clarinet, bass trombone, percussion, cello and double bass

Early in 2001, I was elated at the arrival of my first child, George. Observing him grow and develop in the last 6 months has rekindled the vague memories and nebulous feelings from my own early life, and has prompted me to wonder what memories, feelings, sights and smells etc he will remember in years to come. I am sure that these musings are not new and have occurred millions of times for many millennia, but I have still found them rather special. Perhaps the slower parts of the piece portray a nostalgic and retrospective perspective, and perhaps the faster gestures depict some animated conversations as heard by a newborn.

• Cree Brown: Memories Apart; computer set 

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• Cree Brown: Memories Apart; computer set 

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• Cree Brown: Memories Apart; CD 

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B flat clarinet, trumpet, piano, percussion, violin, double bass and CD

The march is connected with both military and alternative political gatherings. Trying to understand the form, I’ve been listening to Purcell’s Queen’s Funeral March, the conga playing of Quebec Summit protestors and the strangely military snap of Old Mother Hubbard (performed by the US Air Force Band). Revisiting this nursery rhyme, I was struck by the revolutionary aspirations of the last verse: The dame made a curtsey, The dog made a bow; The dame said, “Your servant,” The dog said, “Bow, wow.”

• Palmer: Mother Hubbard; electroacoustic part 

  Part - recorded | CD
  
  $7.00
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• Palmer: Mother Hubbard; computer set 

  Full score | Pdf - computer set
  
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• Palmer: Mother Hubbard; computer-set 

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  $19.00
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• Palmer: Mother Hubbard; computer-set 

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• Palmer: Mother Hubbard; computer-set 

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• Palmer: Mother Hubbard; electroacoustic part 

  Digital sound file - MP3
  
  $7.00
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• Music by Juliet Palmer I 

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percussion: marimba, maracas, bongos, cymbals and tamtam- the percussion set-up includes two stations of tom-toms arranged in a mirror image of one another to exploit the choreographic potential of two drummers playing in unison.

• Warriors From Pluto - music by Gareth Farr 

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2222;4021; 3 perc. ; harp; strings

• McKenzie: Observation; computer-set 

  Full score | Pdf - computer set
  

• McKenzie: Observation; computer-set 

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• Music by Lachlan McKenzie 

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I got to know Euan Murdoch both as a friend and as a musician when he came to Dunedin to teach cello at the University some years ago. Everything about Euan encouraged me to write him a piece: his lively and warm personality, his huge enthusiasm for music and his brilliance as a player, plus a certain down-to-earth Kiwi quality that is refreshing to encounter within classical music circles. Having composed The Blue Sonata for him in 1999, I was approached by Euan to write something else. He had moved to Wellington for a job at Victoria University, and wanted a piece for Trio Victoria. I relished this opportunity to compose again for Euan, and for the others in the group, Doug Beilman and Thomas Hecht. During 2000 I came to the conclusion I needed a substantial break from composing, due to what might be termed creative ‘burn out’. I also wanted the time to reassess the direction I was heading with my music. Consequently, the trio commission arrived at a time where I felt the urge to experiment and come up with something a little different. Having said that, there are connecting threads with earlier pieces, particularly my Symphony No.2 which was premiered at the Wellington Arts Festival in 2000. Piano Trio was commissioned by Chamber Music New Zealand, with funding provided by Creative New Zealand.


The Piano Trio attempts to suggest psychological states through sound images. It is not directly programmatic but, as the titles of the movements suggest, there are distinct ideas and moods embedded in the music.


The first movement uses imaginary characters from childhood – Maggie Boy and Nice Boy – as representations of two sides of personality: the bad and the good, or the dark and the light. Maggie Boy has music that is barbarous, angular and dissonant. In the opening section a 12-note theme appears, providing the basis for much of the material that follows. Following a metric modulation (or change in note values) the violin and cello play a wispy, lyrical theme that portrays Nice Boy, while the pianist’s right hand tinkers away with 12-note themes, impervious to the sentiments of the strings. Maggie Boy returns in the final section of the movement, dispatching Nice Boy to the recesses of the mind.


The second movement, The Deamon, is concerned with neither good nor bad but rather the nothingness of depression, that caged state of mind where emotions and feelings seem to spiral inwards. Melodic lines twist and turn, trying to find a way out of the psychological cage. Reference is made to the 12-note theme from the first movement, as well as the ‘life and death’ theme from my Symphony No.2.


The third movement, Hyper-dyper is, as its title suggests, ebullient and almost frantically busy. An angular and jazzy opening theme is followed by a nervous, darting second theme featuring some special effects on the strings. The piano rudely interrupts proceedings and a playful but tense middle section follows, based on the 12-note theme from the first movement. In the Coda the ‘hyper’ quality dominates and the Trio comes to an end on a crunching discord.

• Ritchie, A.: Piano Trio; computer-set 

  Full score | Pdf - computer set
  

• Ritchie, A.: Piano Trio; computer-set 

  Parts - written | Hardcopy - computer set
  
  $10.00
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• Ritchie A.: Piano Trio; computer set 

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• Premieres: Poynton, Ritchie, Whitehead 

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• Anthony Ritchie: Piano Trio  Year: 2001 

  CD
  
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• Anthony Ritchie: Chamber Music  Year: 2006 

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2*2*2*2*;4331; timpani, 2 perc; hp, pf, strs. Perc: 8 crotales, glockenspiel, xylophone, vibraphone, suspended cymbals (small), tam tam, bell tree, metal wind chimes, tambourine (large), bass drum.

• Bowater: River of Ocean; computer-set 

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• Helen Bowater: River of Ocean 

  Digital sound file - MP3
  

• Helen Bowater: River of Ocean 

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• Helen Bowater: Various Works 

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• NZ Women Composers Vol. 6 

  CD
  
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• NZ Women Composers Volume 4 

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• NZ Women Composers Vol 5 

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• New Zealand New Music in Scotland 

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• Works by Helen Bowater 

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• SOUNZfine Volume 5: New Zealand Women Composers 

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Sinew/Synapse is concerned with ideas of connection: the causal links between brain and body, score and sound, performance gesture and sonic result. The musical materials existed first as independent objects, which were then manipulated to draw out links between them. I was particularly interested in areas in which the acoustical systems of the instrument become unstable, where a precisely specified physical gesture will produce an unpredictable sonic result. Many of the sounds hover around the threshold of audibility, and the performer is constantly involved in a delicate balancing act. Sinew/Synapse is dedicated to the cellist Robert Ibell, whose role in the music’s evolution was invaluable.

• Brownlee: Sinew/Synapse; computer-set 

  Full score | Hardcopy - computer set
  
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• Brownlee: Sinew/Synapse; computer-set 

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• Philip Brownlee: Sinew/Synapse; audio 

  Media on Demand | Embedded
  

• Brownlee: Sinew/Synapse 

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• Philip Brownlee: Sinew/Synapse  Year: 2001 

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• Waiteata Collection of New Zealand Music Vol. 7 - Emerging Composers  Year: 2003 

  CD
  
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• Clark: Soliloquy; computer-set 

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• Waiteata Collection of New Zealand Music Vol. 7 - Emerging Composers  Year: 2003 

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sop. cornet, 4 solo cornets, cornets 1,2,3; flug., solo hn, hn 1,2; bar. 1,2; tbn 1,2,3; euph. 1, E flat bass, B flat bass; timp., perc. 1,2.

• Rimmer: Symphonic Triptych; computer-set 

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• Rimmer: Symphonic Triptych; computer-set. 

  Parts - written | Hardcopy - computer set
  
  $80.00
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• Rimmer: Symphonic Triptych; computer set 

  Full score | Pdf - computer set
  

• John Rimmer: Symphonic Triptych  Year: 2002 

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• Becker: Taurus One - Night and Morning; facsimile 

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• Becker: Taurus One - Night and Morning; facsimile 

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• Pepe Becker: Taurus I: Night and Morning; audio 

  Media on Demand | Embedded
  

• Baroque Voices: How Great is the Pleasure   Year: 2001 

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• From the far point of the rising of the sun... (Part II)  Year: 2005 

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

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