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• Mews.D: A New Zealand Christmas; computer-set 

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• Wanganui Schola Sacra Choir: Pohutukawa Carols  Year: 2002 

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• Nicholas Palmer: 10 Short Pieces 

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All Sounds Have Been As Music was written in 1993 for the English Poetry and Song Society and was first performed in Bristol by Jeremy Huw Williams and Nigel Foster on 17th October, 1993.

• Wegener: All Sounds Have Been as Music; computer-set  Year: 1994 

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• Margaret Wegener: Music To My Listening  Year: 2002 

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for cello

• Cresswell: Atta; computer-set 

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  $12.00
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• Cresswell: Atta; computer-set 

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• Cresswell: Atta; facsimile 

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• Under the Southern Cross: works for cello 

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• Lyell Cresswell: Anake and other works  Year: 2000 

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• Hamilton: Ave Maria; computer set 

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• The Treble Voice Choral Music of David Hamilton Vol. 3  Year: 2011 

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This song cycle for soprano and piano has texts by the composer in Maori and English.

“Awa Herea memorably evokes the physical appearance of symbolic significance of these braided rivers… cosmic weather-driven energy.” (Covell, Sydney Morning Herald).

“Its pace was shrewdly varied and the music encompassed a range of styles – from sung declamation to florid lyricism – without incongruity.” (Jack, Independent).

“The cycle displays all the characteristics of her [Gillian Whitehead’s] mature work. The vocal line is at once exultant and contemplative, the piano writing incisive or lulling; the formal shaping novel yet accessible. It is a memorable piece, filled with the energetic spirit of the natural world and finding through that spirit its own serenity.”

• Whitehead: Awa Herea; computer-set 

  Full score | Pdf - computer set
  

• Whitehead: Awa Herea; computer-set 

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• Whitehead: Awa Herea; facsimile 

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• NZIAF: Gillian Whitehead Portrait; part 2 

  CD
  

• Waikohu: Mere Boynton and Friends 

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  $30.00
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• Tracey Chadwell's Songbook  Year: 1995 

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• Ears Wide Open Taringa Areare Education Resource CD  Year: 2000 

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• Nicholas Palmer: 10 Short Pieces 

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2sop,1ten,2bari,SATB chorus and orchestra: (2)22(2)2(2); 2220; 2perc,timp,2keyb; strs.

Bitter Calm is a full length opera for five principals, chorus and orchestra in two acts. It is based on an incident at Motuarohia Island in the Bay of Islands, New Zealand in the 1840s. It is a drama of human passions in the contexts of land alienation and tensions between Maori and new settlers. Premiered at the New Zealand International Festival for the Arts in 1994 and filmed for television.

• Blake: Bitter Calm; facsimile 

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• Blake: Bitter Calm; facsimile 

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  $100.00
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• Blake: Bitter Calm (Scenes 1-3) 

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bagpipes, cello, marimba/harp/tenor drum (1 player), violin, flute/piccolo (1 player), clarinet/bass clarinet/soprano and alto saxophones (1 player)

This dance theatre project was commissioned to celebrate the New Zealand Women’s Suffrage Centennial, and explores a range of historical and contemporary issues. It is based on documents written by Kate Shepherd and was choreographed by Susan Jordan.

• Fisher: Bone of Contention; facsimile 

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• Fisher: Bone of Contention (excerpt); facsimile 

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• Helen Fisher: Bone of Contention  Year: 1993 

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piccolo (doubling flute), clarinet in B flat, violin & cello (both preferably amplified), piano, percussion (4 tomtoms, Chinese cymbal, bongos, 2 break drums, metal plate, cowbell, foot operated bass drum, finger cymbals)

I The remote control – You are in a small, sparsely furnished room. The curtains are a lurid green-and-orange striped pattern. A TV sits in the middle of the room – you are strangely drawn to it. A remote control is in your hand, and as you tentatively push the red button marked ‘on’, the TV erupts in an angry blare of noise. Flustered, you turn down the cacophony, and flick through a few channels. But it seems the remote has a mind of its own – it starts changing the channels by itself, at first slowly, then faster and faster. The volume roars, the bizarre programmes fly past, and you can’t stop it no matter what you do…

II The derivation of musical wisdom – Suddenly the remote stops. The picture blurs – you stare at the screen to try to make out a vaguely familiar silhouette. A thick Parisian accent crackles through the speaker. ‘…Sound and Chaos – Hell’s Eternal Rhythm…’ The picture snaps into focus – Pierre Boulez is hosting a cooking show. He is dropping long rows of notes into a pan with herbs, garlic and white wine. He turns, looks straight into the camera, gives you a knowing wink, and mouths ‘Et violà…’

III The game show – The channel abruptly switches to a frenetic daytime game show, where the contestants are competing for fabulous prizes beyond their wildest dreams. An hysterical woman spins the giant wheel, laughing wildly. Bells ring, lights flash – the host shrieks excitedly in a nasal voice ‘It’s the grand prize! Four weeks in a small hotel room with your family of nine!!’ The woman stops laughing.

IV The rachenitza – The channel switches once more. Musicians are playing and people are dancing. There is barbed wire surrounding them. A man with his ribs showing stares mournfully at you. Suddenly he shouts ‘Roll up – the greatest show in the world is here! Experience horrors beyond the limits of your imagination!’ You watch, fascinated, reassured in the knowledge that there is a button marked ‘off’ on your remote control.

Notes from Promethean Editions

• Farr: Cadenza; computer set 

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• SOUNZfine Volume 2 

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• Gareth Farr: Chamber Music  Year: 1997 

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  $30.00
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