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• Douglas Lilburn: Allegro Concertante - hardcopy score & part  Year: 2012 

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• Lilburn: Allegro Concertante  Year: 1988 

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This work won the Asian Composers’ League Young Composers’ Award in 1998 (Taipei).

• Speak: Auxetos; computer-set 

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• Speak: Auxetos; computer set 

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• Jeroen Speak: Auxetos 

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• Speak: Auxetos 

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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 

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• Palmer: Egg & Tongue; computer set 

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• Palmer: Egg & Tongue; computer set 

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• NZ Women Composers Vol. 1 

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• NZ Women Composers Vol. 3 

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• SOUNZfine Volume 5: New Zealand Women Composers 

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• Palmer, Juliet Kiri: Selected Works II 

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• Mix-up - various works by Juliet Palmer 

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• Egg & Tongue  Year: 1997 

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• Hodgson: Four Pieces for Violin and Piano; facsimile 

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• Hodgson: Four Pieces for Violin and Piano; facsimile 

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• Hodgson: Four Pieces for Violin and Piano 

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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 

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• Brownlee: Sinew/Synapse; computer-set 

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• Philip Brownlee: Sinew/Synapse; audio 

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• 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 

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The Sonata for Violin and Piano is in one movement of five contrasting sections. It dates from 1950 and was composed for two well-known musicians: the violinist was Ruth Pearl, from England, who had settled here shortly after the Second World War and was for some time the leader of the Lindsay String Orchestra; and pianist was Frederick Page, for many years professor of Music at Victoria University. These artists performed the work throughout New Zealand and took it on tour for the Chamber Music Federation. Even now it remains the one sonata for violin and piano by a New Zealand composer that is heard with any frequency.

• Lilburn: Sonata for violin and piano; computer-set 

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• Douglas Lilburn: Sonata 1950; video 

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• Chamber Works Vol. 2 (NZ Composer Edition) 

  Vinyl (LP or EP)
  

• Lilburn: Two Works 

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• Douglas Lilburn: Violin and Piano Works  Year: 2011 

  CD
  
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• Douglas Lilburn: Master Works for Strings  Year: 2011 

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This work for violin and piano was reviewed thus, “The intense heart of the concert was Eve de Castro-Robinson’s Split the Lark…performed fervently..and serenely…The work suited both moods, the opening of sustained airy interweaving by the two instruments giving way now and then to more strident, stopping and starting gestures. The piece was taut throughout, but certainly intensified, closing with a fine screech of emotion at the very end.” Cheryl Camm, Music in New Zealand.
“Split the Lark…an airy capriciousness combined with intensity, grace and rhythmic intricacies.” John Taylor, Music in New Zealand.

• de Castro-Robinson: Split the Lark; facsimile 

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• De Castro-Robinson: Split the Lark; facsimile  Year: 1996 

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  $16.00
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• De Castro-Robinson: Triple Clarinet Concerto and other works 

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

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