Search Music:

The tape part for A Bridge of Ice was recorded on Williamsburg Bridge, New Year’s Day, 1994. A Bridge of Ice was premiered by Robert Black.

• Palmer: A Bridge of Ice; computer set 

  Full score | Pdf - computer set
  
  $10.00
  • • Quantity:

• Juliet Kiri Palmer: Tufa and A Bridge of Ice 

  Cassette
  
  • Borrow

• Hall: a splinter of silence in the belly of time; facsimile 

  Full score | Hardcopy - facsimile
  
  $35.00
  • • Quantity:
  • Borrow

• Hall: a splinter of silence in the belly of time 

  Cassette
  
  • Borrow

• Neville Hall: Selected Works 

  CD
  
  • Borrow

Imagine the harmonics associated with each musical sound as its “aura”. This piece brings these auras into fuller consciousness: at the start the orchestra’s staccato chord is immediately decorated by the solo piano’s flourish on its harmonic series. These auras permeate the work. The piece is in a single movement – its various sections related rhythmically. It was first performed by Barbara King and the Victoria University Orchestra under Peter Walls in August 1995.

• Farquhar: Auras; facsimile 

  Full score | Pdf - facsimile
  

• Farquhar: Auras; facsimile 

  Score and parts | Hardcopy - facsimile
  
  • Hire

• Farquhar: Auras; facsimile 

  Full score | Hardcopy - facsimile
  
  $20.00
  • • Quantity:
  • Borrow

• David Farquhar: Auras  Year: 1997 

  CD
  
  • Borrow

Ten years have passed since I wrote beneath the veil of silence. I remember at the time I was reading Michel Foucault’s The Order of Things, which is where I found the title for my piece. The fact that I was reading a book entitled The Order of Things says something about my preoccupation at the time – order.

This preoccupation derived mainly from a fascination with the visual patterns of nature, in particular patterns found in trees and other flora, as well as patterns found in the movement of water in all its forms. There must, I thought, be a link between order and beauty; and perhaps by exploring this relationship I might also have a chance of making something beautiful.

The phrase beneath the veil of silence also refers to nature. Specifically, the idea that nature contains a message, it is trying to tell us something, but it is mute and unable to speak directly. Hence the veil – something is concealed from our view, even though we are aware of its presence.

The order of beneath the veil of silence is also intentionally hidden from view; it resides at a deep level in the structure of the piece. The surface we hear is laced with signs that refer to this deep structure but always in a more or less obscure way. Hopefully, the result is a sense of order – a feeling that something is going on in the background, without our ever being sure exactly what.

There are two main structural layers to the piece – one that determines the pitch organisation and one that determines the temporal/rhythmic design of the composition. These two conceptually unrelated layers, both products of reiterative processes, are superimposed and interact with each other; in particular, the rhythmic design “smudges” the previously almost geometrically perfect pitch design, shifting elements left and right, and unpicking vertical pitch configurations.

The “fleshing out” of this structural skeleton, although to some extent elaborating material from the skeleton itself, was largely an act of imagination/fantasy. Perhaps this is why the timbral aspect of the piece is so important. It is really in the interaction of the various instrumental combinations that the “poetry” of the piece (if it exists) is located. Thus following timbral indications, such as sul tasto or sul ponticello, are just as important as playing the right note at the right time; and being clear about how each part fits together, and what each part contributes to the combined timbre of the ensemble, is critical to performing the piece convincingly.

Listening to beneath the veil of silence now, I can hear that I was preoccupied with a post-serial musical idiom in the early 1990s. This is hardly surprising considering my teachers we very much of the “Darmstadt” generation and heavily influenced by serialism. In recent years, I have moved away from this approach to composing, but the critical role of timbre and the search for the relationship between order and beauty are two things that remain from the early period. There are very few pieces written before beneath the veil of silence that I would now offer for performance, so this work is very much a starting point, the first step down a path that leads who knows where…

• Hall: beneath the veil of silence; facsimile 

  Full score | Hardcopy - facsimile
  
  $20.00
  • • Quantity:
  • Borrow

• Neville Hall: beneath the veil of silence; audio 

  Media on Demand | Embedded
  

• Neville Hall: Selected Works 

  CD
  
  • Borrow

Of this work for flute, clarinet in B flat, violin and piano, the press said, “Norman writes intelligently for such a non-blending ensemble and it was a well-crafted divertissement. The players [Zelanian Ensemble] obviously like it.” (Christchurch Star 28-2-96)

• Norman: Bridgewater Quartet; computer-set  Year: 2007 

  Score and parts | Hardcopy - computer set
  
  $37.50
  • • Quantity:
  • Borrow

• Philip Norman: Bridgewater Quartet 

  CD
  
  • Borrow

The ‘Elgin Marbles’, taken from the Parthenon, lie at the centre of a long-standing property dispute between Greece and the British Government. Encountering these sculptures in the British Museum for the first time, I was intrigued to learn that one of the decorative motifs adorning its carved stone form was known as ‘egg and tongue’. The sensuously rounded forms of eggs and tongues alternate and repeat along the borders of the monumental sculptures, an ancient pattern combining symbols of virility and fertility. The motif is widespread: several years later, walking through the ruined architecture of the Syrian city of Apamea, I found tumbled-down stones of Roman structures bearing this same pattern, rain-washed stones in a field of crocuses. In the music of Egg and Tongue, I play with ideas of patterning and fragmentation, cultural property and style. Familiar motifs repeat, adorn, are lost and take new shapes.

Juliet Palmer

• Palmer: Egg & Tongue; computer set 

  Parts - written | Pdf - computer set
  
  $20.00
  • • Quantity:

• Palmer: Egg & Tongue; computer set 

  Full score | Pdf - computer set
  
  $9.50
  • • Quantity:

• Palmer: Egg & Tongue; computer set 

  Full score | Hardcopy - computer set
  
  $9.50
  • • Quantity:
  • Borrow

• NZ Women Composers Vol. 1 

  CD
  
  • Borrow

• NZ Women Composers Vol. 3 

  CD
  
  • Borrow

• SOUNZfine Volume 5: New Zealand Women Composers 

  CD
  
  • Borrow

• Palmer, Juliet Kiri: Selected Works II 

  CD
  
  • Borrow

• Mix-up - various works by Juliet Palmer 

  Cassette
  
  • Borrow

• Egg & Tongue  Year: 1997 

  CD
  
  • Borrow

• Tecwyn Evans: Gerauschvoll - hardcopy score 

  Full score | Hardcopy - computer set
  
  $10.00
  • • Quantity:
  • Borrow

• Organ Music by New Zealand Composers, Volume 1; computer-set  Year: 2004 

  Full score | Hardcopy - computer set
  
  $75.00
  • • Quantity:
  • Borrow

• Pink and White - New Zealand Organ Music  Year: 2005 

  CD
  
  $30.00
  • • Quantity:
  • Borrow

• Saxcess 10th Anniversary  Year: 2002 

  CD
  
  $35.00
  • • Quantity:
  • Borrow

• Biddington: Introduction and Allegro; computer-set 

  Full score | Hardcopy - computer set
  
  $12.50
  • • Quantity:
  • Borrow

• The Chamber Music of Eric Biddington 

  CD
  
  $30.00
  • • Quantity:
  • Borrow

• Tower New Zealand Youth Choir: Winds that Whisper  Year: 1998 

  CD
  
  $30.00
  • • Quantity:
  • Borrow