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guitar and ensemble (2-6 players) - instrumentation is flexible (and suggested size is also only a suggestion)

• 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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1110; 1000; Perc.; strings (clar. in A)

The Concerto was commissioned by Matthew Marshall and the Wellington Regional Orchestra (now Vector Wellington Orchestra), completed in May 1992 for a first performance planned for November 1992, and later postponed until May 1993.

This work is in three movements (quick – slow – quick), but these are connected by cadenza-like links for the guitar soloist, so that the music is continuous. In view of the balance problems in a guitar concerto I have written for a small orchestra (flute, oboe, clarinet, horn, percussion and strings), and treated the relationship between solo and orchestra in a concertante style – sharing material rather than opposing each other, and aiming throughout to make the guitar easily audible. Dance rhythms, with touches of rhumba and jazz, predominate in the quick movements, while the slow central movement uses variable speed tremolo on the guitar to enhance its singing qualities.

• Farquhar: Concerto for guitar and small orchestra; facsimile 

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• Farquhar: Concerto; facsimile 

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• Farquhar: Concerto for guitar and small orchestra; facsimile 

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Flute Concerto No. 1 was written during 1987 for The Nova String of Wellington and their flute soloist, Karen Batten. This group gave the first public performance of this concerto at The Laings Road Methodist Church, Lower Hutt, during July 1988.

• Biddington: Concerto for flute and string orchestra; facsimile 

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• Biddington: Concerto for flute & string orchestra; facsimile 

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• Eric Biddington - Flute Concerto No.1 

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• Biddington: Flutes Concertos and Chamber Music  Year: 2001 

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fl,ob,cl,bn,hn.

• Farquhar: Concerto for Wind Quintet; facsimile 

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• Farquhar: Concerto for Wind Quintet; facsimile 

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• Concertante Ensemble - Wind Quintets  Year: 1980 

  Vinyl (LP or EP)
  

Taonga puoro inlcude: pumotomoto, ku, panguru, rehu, putorino, putatara, pukaea, and porotiti.

• Rimmer: Cosmic Winds; facsimile 

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• Rimmer: Cosmic Winds; facsimile 

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• Rimmer: Cosmic Winds; CD 

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• New Zealand Selection 1 

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• Premieres 2004, Vol. 7  Year: 2003 

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• Rimmer: Crow; electroacoustic part 

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• Rimmer: Electronic Sounds 

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• Rimmer: Crow; facsimile 

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• Rimmer: Crow; facsimile 

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2222; 2200; 2 perc (bass drum, side drum, glock, xylophone, sus. cymbal, strings (87652 approx)

The Double Concerto was designed to explore the unusal combination of solo instruments, extend the soloists and, at the same time, be performable by regional orchestras.

The opening movement has a lilting quality and is based on the Brahms’ lullaby, which only appears (abridged) at the end, played on glockenspiel. The three themes that appear in this movement are related, in some way, to this lullaby. The movement is dedicated to my daughter Annabelle, who was born some months before the composition of this work. A short melody based on letters from her name (A-A-B-E-E) is played by the soloists in the coda.

By contrast, the second movement is fast and jagged, with a somewhat playful second theme shared between the soloists and woodwinds. The main theme has a toccata-like quality, and builds up to a strong conclusion.

Whereas birth was the theme behind the first movement, it is death that concerns the third, and in particular the sudden death of a close friend and musician, Angela Campbell, at the time of writing this concerto. It is an intimate piece for the two soloists only, and based on letters from Angela’s name (A-G-E-A) which are heard at the beginning as a recurrent bass line. The cello melody at the start is a variation on a melody from the first movement, suggesting birth and death are inextricably linked.

The mood lightens in the finale which is a slightly bizarre waltz based on two contrasting themes. Near the end, the soloists have a cadenza which flows into the coda uninterrupted.

• Anthony Ritchie: Double Concerto for bass clarinet and cello - hire set 

  Score and parts | Hardcopy - computer set
  
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• Anthony Ritchie: Double Concerto for bass clarinet and cello - hardcopy score 

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• Anthony Ritchie: Double concerto for Bass clarinet and Cello 

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• Remember Parihaka - orchestral music by Anthony Ritchie  Year: 2009 

  CD
  
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The electronic part for this work was prepared in the computer music studio of Simon Fraser University, Vancouver, using real-time granular synthesis to process samples produced by the viola. A small resource of bowed and plucked sounds has been treated in this way to produce a large-scale mosaic of sounds to background the solo viola part, which explores playing techniques involving small changes, drifts, in pitch. For instance the opening is played with the fingers in closer than normal position to produce rhythmic patterns on very small intervals, a technique which recurs as a sort of technical motto throughout, and later material makes considerable use of much larger slides to produce a very fluid melody in the upper reaches of the instrument.

The first performance was given by violist David Nalden in the
ExtravaCANZa festival at Victoria University of Wellington in November 1994. David Nalden describes ‘Drift’ as ‘a vast soundscape of seemingly infinite varieties of colour, pitch and rhythm which bore as much resemblance to the sequence of sounds in my initial recording as a luxuriant garden to a handful of seeds which had given it its existence.’

• Elmsly: Drift; computer-set 

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• Elmsly: Drift; facsimile 

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Voice used for waiata; Taonga puoro includes: Putatara, Putorino Matai, Pumotomoto, Pupuharakeke, Pu Kaea, and Nguru Rakau Maire

Hinetekakara is the ancestress of Aroha Yates-Smith, the kaikaranga (singer) who provided the idea and the text of this piece. Hinetekakara lived on the shores of Lake Rotorua with Ihenga, her husband or father, an eponymous ancestor of the Te Arawa people, when the land was still being settled after the arrival of the Te Arawa canoe from central Polynesia. The four cadenzas, for bassoon, alto flute, flute, cello and bassoon, and bassoon link improvised sections, in which all the instruments participate. The singer initially invokes, accompanied by putatara (conch shell trumpet), the spirit of Hinetekakara, then addresses rituals following the death of her future father-in-law (with putorino), and then the birth of her son (with pumotomoto, an instrument used to assist at child-birth). A voiceless improvisation on pupu harakeke (flax snail), an instrument presaging danger, is followed by Ihenga’s anguished lament as he finds the murdered body of Hinetekakara by the lake, by the place named for her, Ohinemutu, meaning the end of the woman. Finally, she is farewelled as her spirit returns to the afterworld.

• Whitehead: Hinetekakara; computer set 

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• Whitehead: Hinetekakara; computer set 

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• Tuhonohono 

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for bass clarinet in Bb, alto flute
percussion — kick-drum, snare drum, low tom-tom, low woodblock, high woodblock, medium cowbell (muted), hi-hat, high ride cymbal, medium splash cymbal, thin metal sheet, cabasa, rainstick, tibetan bowl (F if possible), vibraphone, marimba;
narrator — amplified with microphone and/or paper megaphone and power megaphone;
piano (nylon fishing line rosined), violin and violoncello

“In the beginning, there was nothing. Just the water.”
“But where did all the water come from?”

Throughout Thomas King’s novel the character of the trickster Coyote reappears, hopelessly bamboozled, trying to learn what really happened when the world began. Who knows the Real Story? Coyote would like to think he does, but then there’s Coyote’s Dream – “gets loose and runs around. Makes a lot of noise”. Coyote’s Dream has his own idea about things: “I’m in charge of the world”. By the end of the piece, you’ll be wondering where all that water came from…

• Palmer: How it Happened; computer set 

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• Palmer: How it Happened; computer set 

  Score and parts | Hardcopy - computer set
  
  $36.00
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• Palmer: How it Happened; computer set 

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• Juliet Palmer: How it Happened 

  Digital sound file - MP3