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It is impossible to live in Wellington without paying attention to its environment, or the environment paying attention to you. Equally, it is impossible to leave without carrying an interior imprint of its sharp green hills, scudding clouds, dragon sea, and particularly for me, those days when it suddenly all stops leaving the city suspended between a hush of blue sky and a seemingly frozen harbour. Blue Kisses Green is somehow ‘about’ this elemental ferociousness, delicacy, and beauty.

• Dugal McKinnon: Blue Kisses Green (Mono) 

  Part - recorded | CD
  

• McKinnon: Blue Kisses Green (Stereo) 

  Part - recorded | CD
  

• McKinnon: Blue Kisses Green 

  Part - recorded | Video
  

• McKinnon: Blue Kisses Green; computer-set 

  Score and parts | Pdf - computer set
  

• McKinnon: Blue Kisses Green; computer-set 

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• McKinnon: Blue Kisses Green; computer-set 

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A work which explores the interaction between live flute and electronic sounds. Written for Dana Parkhill.

• Michael Norris: Chrysalis - downloadable electroacoustic part (mp3) 

  Part - recorded | Digital sound file - MP3
  
  $5.00
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• Michael Norris: Chrysalis - downloadable PDF 

  Full score | Pdf - computer set
  
  $13.00
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• Michael Norris: Chrysalis - hardcopy score & electroacoustic part (CD) 

  Score and parts | Hardcopy - computer set
  
  $17.00
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• Michael Norris: Chrysalis; audio 

  Media on Demand | Embedded
  

• Norris: Chrysalis 

  CD
  
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• Rimmer: Composition 2; electroacoustic part 

  Part - recorded | CD
  
  $7.00
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• Rimmer: Compositions 1-5; electroacoustic part 

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• Rimmer: Composition 2; facsimile 

  Parts - written | Hardcopy - facsimile
  
  $13.00
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• Rimmer: Composition 2; facsimile 

  Full score | Hardcopy - facsimile
  
  $7.50
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• Chamber Works Vol 1 (NZ Composers Edition) 

  Vinyl (LP or EP)
  

• Concertante Ensemble - Wind Quintets  Year: 1980 

  Vinyl (LP or EP)
  

• Rimmer: Compositions 1-5; electroacoustic part 

  Part - recorded | CD
  
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• Rimmer: Composition 3; electroacoustic part 

  Part - recorded | CD
  
  $7.00
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• Rimmer: Compostition 3; computer set 

  Full score | Pdf - computer set
  

• Rimmer: Composition 3; computer-set 

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• New Zealand Electronic Music 

  Cassette
  
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• New Zealand Electronic Music 

  Vinyl (LP or EP)
  

During the 1970s John Rimmer produced a series of Compositions, for different instruments and electronic sounds. In Composition 4 the flute is accompanied by a gentle environment of string and percussive-like timbres. The flute writing contains a wide variety of expressive devices and overall bears an oriental influence, in particular that of the Japanese vertically blown shakuhachi.

• Rimmer: Composition 4; electroacoustic part 

  Part - recorded | CD
  
  $7.00
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• Rimmer: Compositions 1-5; electroacoustic part 

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• Rimmer: Composition 4; facsimile  

  Full score | Pdf - facsimile
  

• Rimmer: Composition 4; facsimile 

  Full score | Hardcopy - facsimile
  
  $17.50
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• New Zealand Sounds - October Sound 

  Cassette
  
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• Seaswell  Year: 1992 

  CD
  
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• Rimmer: Compositions 1-5; electroacoustic part 

  Part - recorded | CD
  
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• Rimmer: Composition 5; electroacoustic part 

  Part - recorded | CD
  
  $7.00
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• Rimmer: Composition 5; facsimile 

  Full score | Hardcopy - facsimile
  
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• Music Players 70: Rimmer, Bartok, Carr  Year: 1971 

  Vinyl (LP or EP)
  
  $15.00
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• Rimmer: Composition 6; electroacoustic part 

  Part - recorded | CD
  
  $7.00
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• Rimmer: Composition 6; facsimile 

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• Rimmer: Electronic Sounds for Compositions 6-10 

  CD
  
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• John Rimmer: Soundweb  Year: 1979 

  Vinyl (LP or EP)
  
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• Rimmer: Composition 7; electroacoustic part 

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• Rimmer: Composition 7; facsimile 

  Full score | Hardcopy - facsimile
  
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• John Rimmer: Composition 7; audio 

  Media on Demand | External - audio
  

• Rimmer: Electronic Sounds for Compositions 6-10 

  CD
  
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• Watson/ Nock/ Cresswell/ Rimmer: Works 

  Cassette
  
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In composing Motet for Hildegard, I imagined Hildegard von Bingen communing with nature while singing her song O Virga Mediatrix (O branch who mediates for us) to the universe above. She listens to the planets as they emit their ‘Harmony of the Spheres’ with certain pitches from her song. The nearby Rhine echoes parts of her song in its occasional turbulent displays. She hears a sequence of notes from her song in the strange resonances of an angelic choir and also in an eastern reed instrument. Then she listens to the morning stars singing and is reminded of a passage from the Book of Job. Finally she hears her own voice in the quiet eddies of the river.

The electronic music is based partly on tiny fragments of pre-recorded soprano voice and oboe which are resonated and also split into many grains of sounds. In contrast, the ‘harmony of the spheres’ timbres appear as simple granulated sine tones which move in elliptical orbits..

In the middle of these textures Wendy Dixon’s original recording of Hildegard’s song appears phrase by phrase after which the live soprano and oboe become increasingly florid in keeping with the ornate nature of Hildegard’s song O Virga Mediatrix.

Other medieval aspects are enhanced by intervals such as the perfect 5th sounding at the ends of phrases, by the harmonic style of organum in the opening and closing phrases of the voice and the oboe and also by the structural use of Golden Section and Fibonacci proportions.

The process of basing a piece on an existing song seemed to parallel the work of 15th and 16th century composers who often based their sacred pieces – Motets and movements of the Mass on existing plainsong, hence the title of this piece.

Motet for Hildegard was first performed by Wendy Dixon, soprano and Diana Doherty, oboe in the Recital Hall East, Sydney Conservatorium on 7 December 2008.

• Rimmer: Motet for Hildegard; computer-set 

  Full score | Pdf - computer set
  
  $11.00
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• Rimmer: Motet for Hildegard; computer-set 

  Full score | Hardcopy - computer set
  
  $11.00
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• Rimmer: Motet for Hildegard 

  Part - recorded | Digital sound file - MP3
  
  $5.00
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• Rimmer: Motet for Hildegard 

  Part - recorded | CD
  
  $5.00
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For several years I had been promising Andrew a new piece for bass clarinet, and previously worked in Vancouver with Barry Truax’s POD system to produce some intriguing granulation files derived from notes played by Andrew. These languished unused until 2003 when I heard some wonderful frogs singing in the middle of the night at Chulalongkorn University of Bangkok, and managed to get some recordings. These two sources, plus some transformed temple bell recordings and a mad chorus of police whistles in evening traffic, provided the source material for the soundscape. I began writing the music for bass clarinet around this soundscape.
Much of the bass clarinet part is composed using a synthetic scale which is different in each octave. Although the end result is an arbitrary invention which pleased me, the original inspiration came from exploring the relationship between the Thai seven note scale and pentatonic scales. I had originally been thinking that Thai percussion instruments might be appropriate for the percussion part, but have since decided that the any available instruments may be used. The first performance used a mixture of ‘junk’ percussion (e.g. bowls, cans and flower pots) and bongo drums, but any experiments are welcome.

• Elmsly: Nocturne; electroacoustic part 

  Part - recorded | CD
  
  $10.00
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• Elmsly: Nocturne; computer-set 

  Score and parts | Pdf - computer set
  
  $20.00
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• Elmsly: Nocturne (clarinet part only); computer-set 

  Parts - written | Pdf - computer set
  

• Elmsly: Nocturne; computer-set 

  Score and parts | Hardcopy - computer set
  
  $20.00
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• Elmsly: Nocturne; computer-set 

  Full score | Pdf - computer set
  
  $15.00
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• Elmsly: Nocturne; computer-set 

  Full score | Hardcopy - computer set
  
  $15.00
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• John Elmsly: Nocturne; audio 

  Media on Demand | Embedded
  

• Two Works by John Elmsly 

  CD
  
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