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Juliet Palmer  

How it Happened

Duration: 15' 00" Year: 2010
for narrator and ensemble

  • Instrumentation
    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
  • Programme Note

    “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…

  • Availability

Douglas Lilburn  

Landfall in Unknown Seas

Duration: 18' 00" Year: 1942
for string orchestra and narrator

Jack Body  

Love Sonnets of Michelangelo

Duration: 13' 00" Year: 1982
for soprano, mezzo-soprano, voice, and a dancer

  • Programme Note

    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.

  • Availability

Robbie Ellis  

Play Some Metallica

Duration: 00' 30" Year: 2007
for musical performer(s) numbering between 1 and ∞ inclusive and some munter in the audience

Jack Body  

Poems of Solitary Delights

Duration: 13' 00" Year: 1985
for orchestra and tenor (narrator)

David Farquhar  

Prayer before Birth

Duration: 05' 00" Year: 1969
for narrator, SSA and organ

Wayne Laird  

Rangi and Papa

 Year: 1991
for narrator, actors, koauau and sound effects

Ross Harris  

Roimata

 Year: 2005
for orchestra with narrator

Juliet Palmer  

Self

Duration: 10' 00" Year: 1990
For three percussionists

David Farquhar  

Sing unto the Lord a New Song

Duration: 05' 00" Year: 1970
for narrator and SATB choir