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John Elmsly  

Dialogue III

Duration: 18' 00" Year: 1989
for cello and piano

Jonathan Besser  

Duo for Violin and Piano

Duration: 18' 00" Year: 1989
for violin and piano

Dorothy Buchanan  

Mary Magdalene and the Birds

Duration: 15' 00" Year: 1989
a song cycle for mezzo and clarinet

Gillian Whitehead  

Moon, Tides and Shoreline

Duration: 15' 00" Year: 1989
for string quartet

  • Programme Note

    In this work, inspired by Paekakariki on the Kapiti Coast – ‘home’ during the composer’s six-week residency at Victoria University in 1989 – the relationship between music and environment is particularly strong. The cello’s low repeated D, which opens the piece, is the fundamental pitch heard in the sea and the restless semi-quavers evoke the continuous movement of waves crashing on the Paekakariki shore. Whitehead’s fascination with medieval philosophy and music, incorporating concepts of natural cycles, is reflected both in the title and in the compositional process, where magic squares were used to generate the background structure.
    (Programme note by Emma Carle and Jack Body).

    “This is a rich evocative piece that is never merely picturesque, as the title might suggest. It has a lyrical complexity reminiscent of Tippett… (it) achieves moments of great beauty.” (Tim Bridgewater, The Dominion).

    “The highlight for me was the premiere of Gillian Whitehead’s Moon Tides, and Shoreline. … Perhaps there are marine associations to be heard in the score, but, more importantly, one appreciates the work’s cool and eminently logical form. The various musical motifs are inventive in themselves and intriguingly handled.” (William Dart, Music in New Zealand)

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David Farquhar  

String Quartet

Duration: 18' 00" Year: 1989

Nigel Keay  

Symphony for Strings - Three Images of Java

Duration: 15' 00" Year: 1989
for string orchestra

  • Instrumentation
    Minimum strs: 8,6,5,4,3
  • Programme Note

    In this three movement work for large string orchestra, the first movement is inspired by the image of a Javanese dancer accompanied by gamelan music and is reflected in the fast hocketing textures over long low bass notes analogous to the gamelan gongs. The central Adagio (for strings) is, quite unlike Barber’s famous movement, quite deliberately without climax reflecting the constantly oppressive tropical heat. The last movement is of an intense nature such as found in the pressure of population.

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