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1111; 1210; timp., xyl.; strings. Piano for rehearsal only.

• Buchanan: A Festive Song - Burnside High School; facsimile 

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• Buchanan: A Festive Song - Burnside High School; facsimile 

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• Buchanan: A Festive Song - Burnside High School; facsimile 

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3222;4230;timp,perc,hp; strs

A Maori Suite was commissioned by the Royal Youth Concert given the presence of Her Majesty Queen Elizabeth the Queen Mother on 26 April, 1966.

• Heenan: A Maori Suite: facsimile  Year: 1984 

  Piano reduction | Hardcopy - facsimile
  
  $11.00
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• Ashley Heenan: Orchestral Music  Year: 1996 

  CD
  
  $30.00
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coloratura soprano,mezzo & contralto soloists

• Jagger: A Poet's Requiem; facsimile 

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2222; 4231; timp., 3 perc., hp, celeste (dbl organ); strings. soprano, mezzo soprano, 2 tenors, baritone

I was born in Christchurch and lived the first 27 years of my life there. For most of those years I had no knowledge of Ngai Tahu or their history. I became fascinated by Maori beliefs during inspiring Religious Studies lectures given by Jim Wilson at Canterbury University, and launched into my own study of Maori music. But for all that, I had no real awareness of southern Maori. It is only recently that I have learned to say: ‘Tena koutou katoa. Ko Anthony toku ingoa, ko John toku papa, ko Anita toku mama, ko Simon toku tungane, ko Judy ratou ko Jenny ko Liz oku tuahine, ko Sandy toku wahine, ko Tristan aku tama, ko Annabelle oku tamahine, No Otetahi ahau, Na reira, tena koutou katoa.’ It was tremendously exciting, therefore, to be asked to write music for a work celebrating the anniversary of the arrival of the settlers in Otetahi. Here was a chance to be involved in an exploration of the distant past: Ngai Tahu’s own arrival in the South Island, pre-dating the English settlers by many years. Reading Te Maire Tau’s account of Moki’s life and the surrounding history opened up a whole new world to me. This was history full of conflict and struggle, passions and rivalry, and an inspiring source for a composer.

Another exciting dimension for me was collaborating with Keri Hulme. I have long admired her writing since reading The Bone People back in the late 1980s, and setting her poem He Moemoea to music. To be honest, I wondered how Keri was going to condense such a complex history into a libretto. Her solution, to have Moki on his last day on earth remembering back over the significant events in his life, was ingenious and worked very well in terms of the musical genre.

Much of the music is concerned with characterisation. The forceful and head-strong character of Moki is depicted by the orchestra early on. He is a man of action, brave and capricious; much of the life-force of the music comes from his mana, resulting in plenty of driving rhythms. On the other hand, he can be sensitive as in his duet with Marewa, singing to their sleeping daughter. Moki’s arrogance lands him in trouble with two chiefly sisters, who he has slept with. His foolish boasting is reprimanded by the chorus in ‘The Words are loosed’, where the insults are repeated for everyone to hear.

The orchestra and choir is sometimes used to colour the images in the story. Following the Karanga near the beginning, for instance, we hear the choir announce the rising of the sun, accompanied by blazing brass and cymbals. In Moki’s opening song, the ‘thin line of light illuminating the islands from the north to the south’ is portrayed by florid lines on flutes, harp and celesta.

One of the interesting challenges in Ahua was to combine my music with music by Te Ari’s Kapa haka group. This was made more difficult by distance: at present I live in Dunedin! There is a also a big difference between Classical music and Maori music, but it is interesting and worthwhile to discover things in common, and to celebrate the differences. I want to acknowledge my collaboration with Te Ari and Te Maire as regards the music for Ahua and thank them for their input.

• Ritchie A.: Ahua; computer set 

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for SATB choir and orchestra, 3232, 3331, Timpani, 3 Percussion, Piano, Strings

• Hamilton: And Music Shall Untune the Sky; facsimile 

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• Hamilton: And Music Shall Untune The Sky; facsimile 

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  $22.00
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2222, 2231, timp, 2 perc., harp, strings
can also be performed with a reduced orchestra: 2110, 0000, 1 perc., harp, strings

Since enjoying 2007 as the Ursula Bethell writer-in-residence at the English Department of the University of Canterbury, I had wanted to thank the University in kind by setting one of Ursula Bethell’s poems. On receiving an invitation from the Christchurch City Choir to compose a work to celebrate the choir’s 20th anniversary I immediately thought of Bethell’s ‘At the Lighting of the Lamps’, which carries the subtitle in brackets ‘(For Music)’. In the first three cantos of this she describes, in an extended musical metaphor, the setting of the sun over the Southern Alps, the beginnings of a symphony of light as lamps are lit across the Canterbury Plains, and the heavenly effects of ‘the music of the spheres’ as starlight illuminates the night sky.

Bethell, one of the pioneers of modern New Zealand poetry, was a long-time resident of Cashmere until her death in 1945 and recorded in verse many such sights, and associated reflections, from her elevated vantage point on the hills.

With the tragedy of the 2011 earthquakes and the postponement of many cultural activities, the Christchurch City Choir’s anniversary for celebration passed from the 20th to the 21st. As a result of the earthquakes, Ursula Bethell’s words have assumed new meaning – the lighting of the lamps can now symbolise hope, signs of a city and its surrounds in renewal: ‘from the deepening dark, sudden a new song springs…’.

I have dedicated this work to my muse, Alison, on the occasion of our thirtieth wedding anniversary.

- Philip Norman, 2012.

• Norman: At the Lighting of the Lamps; computer set 

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for SATB choir, soprano and orchestra 222 cor anglais 2 443 , celeste, harp, timpani, tolling bells, strings

• Young, K: Beacons of Hope; facsimile 

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• Young, K.: Beacons of Hope; facsimile 

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3333; 4330; timp, pf; celli and cbs.

• Farquhar: Bells in their Seasons; facsimile 

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• Farquhar: Bells in their Seasons; facsimile 

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• Farquhar: Bells in their Seasons; facsimile 

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  $45.00
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• Farquhar: Bells in their Seasons; facsimile 

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  $17.50
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The text for this work draws on ideas and images from a number of sources, ranging from contemporary poetry to the psalms of the bible. It is a son of celebration of the Earth and all its abundance. The initial form of the text was devised by Deirdre McOnie. The work is a joyous song of praise. More reflective music alternates with rhythmic writing. Throughout, the music makes much use of syncopation. “Celebrate the Earth” was originally written for an overseas competition whose theme was “A Celebration of Earth Day”. This revised and orchestrated version was written on a commission from Auckland Choral Society for their 2000 concert season. It was one of five choral fanfares commissioned for their subscription series. The concert for which this fanfare was written was to be a Bach 250th anniversary concert. the scoring is for Baroque orchestra including harpsichord and organ. Given the nature of the concert I couldn’t resist including a short reference to the BACH musical motive (B-flat – A – C – B natural in pitch terms). It appears in the brief organ solo towards the end of the work. “Celebrate the Earth!” is dedicated to the Auckland Choral Society and their conductor Peter Watts. Its commissioning was made possible by a grant from the Lottery Grants Board. The first performance took place on 24 March 2000 at Holy Trinity Cathedral, Auckland. This subsequent version for expanded orchestral forces, including jazz band instruments, was made for Youth arts 2000, a celebration of artistic performances by young people held in Wellington in August 2000. It was intended as a massed item at the end of the final concert, hence the inclusion of jazz bands in the scoring as well as a large orchestra.

• Hamilton: Celebrate the Earth (extended version); computer-set 

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• Hamilton: Celebrate the Earth; computer-set 

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• Hamilton: Celebrate the Earth; computer-set 

  Parts - written | Hardcopy - computer set
  

• Hamilton: Celebrate the Earth; computer-set 

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• Celebrate the Earth 

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picc 21,C.A,22; 4231 timp, perc. 1 (xyl., glock., vib., tri., jawbone, crash cym., tub. bells), perc. 2 (tri., guiro, vib., tamtam, snare, siren, tamb.), perc. 3 (sus. cym., b.d., ride cym., tri., snare, crash cym., tamb., 4 toms, tamtam), hp, strings; SA childrens choir; SATB adult choir

• Marshall: Earthsong; computer-set 

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• Marshall: Earthsong; computer-set 

  Vocal score | Pdf - computer set
  

• Marshall: Earthsong; computer-set 

  Full score | Pdf - computer set
  

• Marshall: Earthsong; computer-set 

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