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• Dellow: 8 Songs From The I Ching; facsimile 

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• Dellow: 8 Songs From The I Ching; facsimile 

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This cycle of five songs for baritone and piano was awarded the Philip Neill Prize by the University of Otago in 1991. It expresses five perspectives on the concept of time, some humorous and some more contemplative.

• Grenfell: A Pinch of Time...; facsimile 

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• Grenfell: A Pinch of Time...; facsimile 

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• Grenfell: 2 pieces from "A Pinch of Time..."; computer-set 

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• Kowhai - an album of songs by NZ women composers  Year: 1994 

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• Grenfell: selected works 

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• Burning Bright - four NZ women composers  Year: 1999 

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• de Castro-Robinson: A Resonance of Emerald; facsimile 

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• de Castro-Robinson: A Resonance of Emerald; facsimile 

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• de Castro Robinson: Works 1 

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Every now and then the deputy musical directors of Auckland Choral Society are invited to jointly conduct a concert. In 1999 this took the form of a ’subscriber’s bonus’ concert, containing works requiring minimal accompaniment forces. Early discussions lead us in the direction of a Shakespeare-themed concert. In addition to conducting some American settings of Shakespeare, I decided to write a new cycle using Shakespearean texts. Given the nature of the intended concert, I wanted to write a work which was immediately approachable and contained an element of fun. My original intention was to compose a cycle based on references to flowers in Shakespeare’s writings, as I had a copy of a book which detailed them. However, it soon became apparent that many references were part of texts which were not suitable for a musical setting : some were conversational and others merely a passing mention of a flower. I broadened my scope a little and fashioned a sequence of seven texts which all refer in some way to things botanical and/or seasonal. The first text is from ‘As You Like It’ and sets the well-known ‘it was a lover and his lass’ in a jazzy idiom. A complete contrast of mood is presented in ‘Come, buy’ from ‘The Winter’s Tale’, where the words detail a variety of items which might be purchased to charm a lady. The third piece is a short setting of ‘Hark, hark the lark’ from ‘Cymberline’. Unlike Schubert’s well-known setting, this lark is rather boisterous and rowdy! The music owes more than a little to mid-twentieth century film music, perhaps a film involving a frenetic chase sequence! The centerpiece of the cycle is a setting of Shakespeare’s best-known sonnet ‘Shall I compare thee to a summer’s day? (sonnet 18). Here the women’s voices are heard on their own, with the 2nd altos given a rare chance to take the limelight. The fifth piece is a reflective setting of ‘I know a bank whereon the wild thyme blows’ from ‘A Midsummer Night’s Dream’. Initially unison voices present the melody, breaking into harmony only for the second half of the song. Throwing caution to the wind, the sixth piece is a madcap, cartoonish setting of ‘When daisies pied’ from ’Love’s Labour’s Lost’. Where better to end the cycle than with the ‘flower-power’ era of the 1960’s and a swinging version of ‘Under the greenwood tree’ from ‘As You Like It’, using just about every harmonic cliche of the music of that time. ‘A Shakespeare Garland’ was written for, and is dedicated to, Auckland Choral Society who gave the first performance.

• Hamilton: A Shakespeare Garland; computer set 

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• Lilburn: A Song of Islands; facsimile  Year: 1996 

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• SOUNZfine Volume 2 

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• Lilburn: A Song of Islands and other works  Year: 1986 

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• Lilburn: A Song of Islands  Year: 1986 

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• Douglas Lilburn: A Song of Islands  Year: 1987 

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• Douglas Lilburn: Orchestral Music  Year: 1995 

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• Douglas Lilburn: Orchestral Works   Year: 2004 

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• Wild Music   Year: 2004 

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

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

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• Neville Hall: Selected Works 

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These three pieces for solo piano were commissioned by pianist Michael Houstoun. Each is concerned with aspects of deja vu or ‘second sight’ including sensations of past lives, strangely familiar places and the cyclical nature of experience. The second of these pieces is published by SOUNZ in First XV.

• Blake: Ancient Journeys; facsimile 

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• First Fifteen - a selection of piano music by NZ composers  Year: 1996 

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• Michael Houstoun - Elusive Dreams  Year: 1996 

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• Christopher Blake: Ribbonwood is Home  Year: 1998 

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The worship of the Celtic Goddess Sulis and the Roman Goddess Minerva gave rise to the cult of Sul-Minerva at the ancient springs situated in Southwest England. A visit to the site summons up a variety of underground imaginings – dark, steaming pools, slowly dripping water and faster running streams, ancient supplications, sacrifice, curses and prayers, fertility and healing.

• Leonie Holmes: Aquae Sulis - hire set 

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• Leonie Holmes: Aquae Sulis - downloadable PDF 

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• Leonie Holmes: Aquae Sulis - hardcopy score 

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• Brownlee: As if to catch the fleeting tail of time; computer-set 

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• Brownlee: As if to catch the fleeting tail of time; computer-set 

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• Philip Brownlee: As if to catch the fleeting tail of time; audio 

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• Philip Brownlee: As if to catch the fleeting tail of time; video 

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• Philip Brownlee: As if to catch the fleeting tail of time 

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• Two pieces by Philip Brownlee 

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“He Hides himself so wondrously, As though there were no God” Scottish Psalter 1615

• Harris: As though there were no God; computer-set 

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• Harris: As though there were no God; computer-set 

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• Ross Harris: As though there were no God; audio 

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• Harris: As though there were no God; CD 

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• Premieres 2004, Volume 3 

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