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for violin 1, violin 2, viola, cello, gamelan, narrator and sheng (or oboe)

This work uses four short passages from Canadian composer and ethnomusicologist, Colin McPhee’s famous account of his experiences while living in Bali in the 1930s. A joint composition between Jack Body and Wayan Yudane who composed the gamelan sections. A Creative New Zealand grant assisted the composition of this work.

• Body, Yudane: A House in Bali; computer-set 

  Score and parts | Hardcopy - computer set
  
  $33.00
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• Body, Yudane: A House in Bali; computer-set 

  Score and parts | Hardcopy - computer set
  
  $41.00
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• Body, Yudane: A House in Bali; computer-set 

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  $20.50
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• Body, Yudane: A House in Bali; computer-set 

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  $25.00
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• Body: A House in Bali; computer-set 

  CD
  

2 trumpets, horn, trombone, tuba

This work for brass quintet and narrator was written for the NZ Brass Quintet to perform in schools.

• Freed: A Nursery Tale; facsimile 

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• Freed: A Nursery Tale; facsimile 

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  $7.00
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• Freed: The Circle and A Nursery Tale 

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Percussion: drumkit; mobile instruments; furniture; clothing (full details in score)

• Palmer: Blood Shower; computer-set 

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  $8.50
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• Palmer: Blood Shower; computer-set 

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• Palmer: Selected Works I 

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solo clarinet

In many ways this is a companion piece to an earlier work, Vivid for solo trumpet, which also sets a powerful, sexually charged poem by Will Christie. But where Vivid is very often overtly violent and forceful in its gestures, deepwalker is mostly much subtler, almost passive-aggressive in outlook. The opening lines of the poem – “the day is a drum that connects these vocal loops with grey traffic circles bridge after bridge” – are mirrored in the cyclical, sometimes elliptical form of the work, loops and circles that play between registers of the clarinet. Sexual tension and aggression bubble away in the background, periodically rupturing the musical surface with piercing, angular outbursts, sometimes in parallel with the rather tender, fluid lines of the low register, and with the spoken text itself. This violent interplay creates a kind of disordered internal conversation, a bizarre hermetic character opening and shutting her windows; a clarinet of many voices.

Warning: contains coarse language

• Taylor: deepwalker; computer set 

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  $19.50
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• Taylor: deepwalker; computer set 

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  $16.50
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• Alex Taylor: deepwalker; audio 

  Media on Demand | Embedded
  

• Alex Taylor: deepwalker 

  Digital sound file - MP3
  

• Powell: Father's Telescope; electroacoustic part 

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  $7.00
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• Powell: Father's Telescope; computer-set 

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• Kit Powell: Father's Telescope; audio 

  Media on Demand | Embedded
  

• Harlow - Powell: Radio NZ Archive Recordings 

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piano, bass, percussion, keyboards, banjo, synthesisers, flutes, vocals, actors

• Michelle Scullion: Foreign Bodies  Year: 1995 

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A piece which combines contemporary classical music with Hip Hop/ Poetry.

• Crehan: Honesty; computer-set 

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• NZ Premieres 2008 Vol. 1 

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for bass clarinet in Bb, alto flute
percussion — kick-drum, snare drum, low tom-tom, low woodblock, high woodblock, medium cowbell (muted), hi-hat, high ride cymbal, medium splash cymbal, thin metal sheet, cabasa, rainstick, tibetan bowl (F if possible), vibraphone, marimba;
narrator — amplified with microphone and/or paper megaphone and power megaphone;
piano (nylon fishing line rosined), violin and violoncello

“In the beginning, there was nothing. Just the water.”
“But where did all the water come from?”

Throughout Thomas King’s novel the character of the trickster Coyote reappears, hopelessly bamboozled, trying to learn what really happened when the world began. Who knows the Real Story? Coyote would like to think he does, but then there’s Coyote’s Dream – “gets loose and runs around. Makes a lot of noise”. Coyote’s Dream has his own idea about things: “I’m in charge of the world”. By the end of the piece, you’ll be wondering where all that water came from…

• Palmer: How it Happened; computer set 

  Full score | Pdf - computer set
  
  $30.00
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• Palmer: How it Happened; computer set 

  Score and parts | Hardcopy - computer set
  
  $36.00
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• Palmer: How it Happened; computer set 

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• Juliet Palmer: How it Happened 

  Digital sound file - MP3
  

Lilburn wrote these seven musical interludes in quasi-Elizabethan style; nonetheless one can still clearly detect his own compositional voice. The most extended music is that for the Willow Song, which in Shakespeare’s Othello is sung by Desdemona to her maid Emilia on the eve of the heroine’s death. Lilburn knew well how to handle the style of the melancholy vocal lament, translating the repeated ‘willow, willow…’ refrains of the original song into repeated skips of a falling third, and using the violin’s mid-low register. Broken chord accompaniment in the piano imitates the sound of a strummed lute. Lilburn Willow Song was heard together with the premier of two settings of R.A.K. Mason’s poems, Song Thinking of Her Dead, and O Fons Bandusiae in a 3YA broadcast on 29 November 1946. It was first performed two years earlier, though, as part of a production of Othello given by the Canterbury University College Drama Society, directed by Ngaio Marsh.

Lilburn Collaborated with Ngaio Marsh in five Shakespeare production sin the early 1940s; Othello was the second. Just as Marsh regarded his musical input highly, so Lilburn considered her to be an outstanding producer: "She had more understanding of Shakespeare than anyone else I have ever met’, he observed, ‘and an exquisite ear for the music and cadences of his verse’. The first two Shakespearian productions by this able team, of Hamlet and Othello, were a great success, so much so that the Drama Society toured with them to Dunedin, Wellington and Auckland.

• Douglas Lilburn: Violin and Piano Works  Year: 2011 

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Taonga Puoro: ipu, pahu pounamu, koauau rakau maire, panguru, hure puru hau, poi awhio whio, ua roria rau karamu, putorino rakaumatai, kouaua pponga ihu, kouauau koiwi kuri, koauau koiwi toroa, tumutumu, pupu harakehe, porotiti, purerehua kohatu pounamu, pukaea rakau manuka, karanga manu; Maori instruments and piano improvised (guidelines in score), cello notated

• Gillian Whitehead: Aftermath 

  Digital sound file - MP3
  
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• Gillian Whitehead: Waka, Kowhai and Tui 

  Digital sound file - MP3
  
  $6.00
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• Gillian Whitehead: Waka's Love for Kowhai 

  Digital sound file - MP3
  
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• Gillian Whitehead: The Storm 

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• Whitehead: IPU  Year: 1998 

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