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• Buchanan: 3 Sketches for Wind Octet; facsimile 

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• Buchanan: 3 Sketches for Wind Octet; facsimile 

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• Buchanan: 3 Sketches for Wind Octet; facsimile 

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This orchestral work with mezzo-soprano and baritone soloists was commissioned anonymously for the BBC Scottish Symphony Orchestra and is inspired by “Macbeth” Act IV Sc III. The text is by Patrick McGuire and the work is in seven movements.

• Cresswell: A Modern Ecstasy; facsimile 

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• Cresswell: A Modern Ecstasy; facsimile 

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• Lyell Cresswell: Orchestral Music -1  Year: 1991 

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• Wells: A New Zealand Suite; computer set 

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• John Wells: From the Land of the Long White Cloud  Year: 1991 

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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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• Biddington: A Short Overture; facsimile 

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• Biddington: A Short Overture; facsimile 

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• Eric Biddington: Mad Music 

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• Eric Biddington - A Short Overture 

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The music of ‘A West Irish Ballad’ follows the course of an anonymous Irish poem, and is influenced by Irish traditional music. Much of the musical imagery comes from the poetry, from the snipe and the ‘lonely bird in the woods’, to the developing ostinato reminiscent of church bells, and to the broader feeling of the landscape as I imagine it, and the deep emotion of Irish laments and love songs. ‘A West Irish Ballad’ was written for the Sydney Chamber Choir.

• Maclean: A West Irish Ballad; facsimile 

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• Maclean: A West Irish Ballad; facsimile 

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• Clare Maclean: A West Irish Ballad 

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• Clare Maclean: Complete Choral Music 

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• Farquhar: ABC; facsimile 

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• Farquhar: ABC; facsimile 

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Ahotu is the sixth in a series of instrumental pieces based on the phases of the moon, and refers to the seventh day of the cycle. The entire thirty-day cycle has been used as one of the rhythmic generators of the piece, with vowels and consonants translated into durations to provide the apparently irrational rhythms, which are contrasted in a series of short ensemble or solo sections with either proportional or regular rhythms. The two longest sections are centrally placed. The first, featuring trombone and percussion, presents the language-based material in the percussion; the second, starting with the long piano solo, begins a mensural canon based on the proportional material. However, half-way through this canon, recapitulatory material begins, and subsequent appearances of the canon occur in continually shorter blocks, each transformed very differently. O Matenga, in the title of the piece, refers to the Maori custom, found also in many other civilisations, of providing sustenance for the spirit to the next world after death.

• Whitehead: Ahotu (O Matenga); facsimile 

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• Whitehead: Ahotu (O Matenga); facsimile 

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• Lontano: New Zealand Women Composers 

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• Dellow: All Who Love and Serve Your City; facsimile 

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• Dellow: All Who Love and Serve Your City; facsimile 

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• Dellow: All Who Love and Serve Your City; facsimile 

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• Rimmer: Alleluia; facsimile 

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• Rimmer: Alleluia; facsimile 

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