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“Habits and routines and the struggle to change them……” Created for choreographer Sarah Major.

• David Downes: Saltwater  Year: 1993 

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Dance music for violin, piano, squeezebox and percussion

It can be performed live as well, in part or in its entirety, though some effects are better achieved through the recording. The work is in nine sections which run continuously.

This work was composed for violinist Paula Smart and pianist Terence Dennis, who first recorded the work in March 1999.

• Anthony Ritchie: CONCERTINA  Year: 2012 

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  $30.00
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• Palmer: Cypress; computer set 

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  $8.00
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• Palmer: Cypress; computer set 

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• New Zealand Electronic Music 

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• New Zealand Electronic Music 

  Vinyl (LP or EP)
  

• Lilburn: Complete Electroacoustic Works 

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  $70.00
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The rousing nature of Celtic music was the basis for this piece which deals with a theme of aggressive competition. It is the final section of a composition commissioned for dance by Michael Parmenter.

• David Downes: Saltwater  Year: 1993 

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• Farquhar: Fives; facsimile 

  Full score | Pdf - facsimile
  

• Farquhar: Fives; facsimile 

  Score and parts | Hardcopy - facsimile
  
  $35.00
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• Farquhar: Fives; facsimile 

  Full score | Hardcopy - facsimile
  
  $22.50
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In this, the opening sequence of another dance work commissioned by Michael Parmenter, a man and a woman slowly emerge from within a muddy riverbank.

• David Downes: Saltwater  Year: 1993 

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Originally choreographed by Jamie Bull, this work can be performed as an instrumental work only. It was re-choreographed in 1991 by Mary-Jane O’Reilly and called Fresh in Exposed Places

• Buchanan: Just Looking; facsimile 

  Full score | Pdf - facsimile
  

• Buchanan: Just Looking; facsimile 

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The Love Sonnets of Michelangelo I wrote for Michael Parmenter, with whom I worked on a programme entitled Between Two Fires (also included was a dance-theatre work I created collaboratively with Michael, using his voice as well as his body, with imagery extracted from the diaries of Franz Kafka.) At the time I was focused on different styles of melody, having just completed my Five Melodies for Piano. Inspired by the lovely voices of some of the then current students in our School of Music, I felt that women’s voices gave the expressive quality I wanted, as well as providing a useful ‘cover’ for the overtly homo-erotic tenor of the texts. The original production used film, shot by my good friend Bayley Watson, showed the dancer’s prostrate figure, swathed in bandages. As the performance unfolded the cloth was gradually cut and pealed back by hands belonging to an old man whose face we never saw, the intended metaphor being of the sculptor cutting away marble to reveal the male form that he sensed already existed within the stone.

The work has since had other performances that have discarded the theatrical elements, most successfully when each setting is prefaced by a reading of the poem in translation.

These settings of some of Michelangelo Buonarroti’s most personal sonnets articulate the anguish of love and desire, as well as the despair of old age. The musical style combines the theatricality of Italian bel canto with the direct expressivity of folksong.

• Body: Love Sonnets of Michelangelo; facsimile 

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• Jack Body and Michael Parmenter: Love Sonnets 

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• Baroque Voices: How Great is the Pleasure   Year: 2001 

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• Waiteata Collection of New Zealand Music Vol. 6 - Composer Portrait: Jack Body  Year: 2003 

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  $15.00
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• Limbs Dance Company: Poi 

  Video