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“The systems they learn are nothing but skeletons to them…” – John Ruskin Arrows of the Chace (1880)

Ruskin’s words suggest that rigorous formulae, valuable as a starting point, may be overwhelmed by the vigor of life itself. bone-flower takes its name from a dialect word for daisy, a humble bright flower growing on the bones of the dead. Soon we’ll all be pushing up the daisies.

• Palmer: bone-flower; computer-set 

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• Palmer: bone-flower; computer-set 

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• Palmer: bone-flower; computer set 

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• Mix-up - various works by Juliet Palmer 

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• SOUNZfine Volume 3 

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• Princeton: bone-flower (Palmer) and other works  Year: 1996 

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• de Castro-Robinson: Chaos of Delight II; facsimile 

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• De Castro-Robinson: A Chaos of Delight II; facsimile 

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• A Chaos of Delight: music by Eve de Castro-Robinson  Year: 1998 

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• Freed: Deserted Beach; facsimile 

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• Freed: Deserted Beach; facsimile 

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• Freed: Deserted Beach; facsimile 

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• New Zealand Composers: Franchi, Axtens, Bowater, Freed, Lockwood 

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• The Music of Dorothy Freed 

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This lament for unaccompanied mezzo-soprano is to a text by Harjo.
“The simple image of one woman onstage, barefoot, letting loose great octave leaps and glissandos peaking in sharp cries, projected a beautifully unfettered freedom.”
Cahill, Berkeley Express

• Lockwood: I give you back; facsimile 

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• NZ Women Composers Vol. 2 

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• Lesbian American Composers   Year: 1997 

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• Key: One Step Ahead of the Blues; facsimile 

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• John Key's Strange fruit   Year: 1994 

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When I dropped by in the springtime, there was a futon in the sphere. Someone had moved in and made it their bedroom. Vilma’s song is inspired by the Beach Boys’ classic tune, In My Room, along with a little snippet of Schubert’s _The Hurdy-Gurdy Man" (from Die Winterreise): “In my room No-one sees me, no-one hears me… Now it’s dark and I’m alone But I won’t be afraid.”

• Palmer: Room; computer set 

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• Palmer: Room; computer set 

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• Palmer: Selected Works I 

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• Palmer: In My Room  Year: 1999 

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• Isadora: The [Mis]Adventures of Amy Bock  Year: 1998 

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This song cycle was written as a thank-you piece for Lesley Graham, who had sung lead roles in Harris’ operas Waituhi (1984) and Tanz der Schwäne (1989). She suggested Bub Bridger’s texts. As with Dreams Yellow Lions, the poems are couched in the vernacular, in this case with a disarmingly naïve, yet subtle character. The composer saw the challenge here in writing music that was both simple and rich in order to match the subtleties of the text.

• Harris: Wild Daisies; computer-set 

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• Ross Harris; Wild Daisies; audio 

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• Waiteata Collection of New Zealand Music Vol. 4 - Composer Portrait: Ross Harris  Year: 1987 

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