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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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• Vidulich: Aotea Suite; facsimile 

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• Vidulich: Aotea Suite; facsimile 

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• Vidulich: Aotea Suite; facsimile 

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Bright Forms Return written in 1980 while I was composer-in-residence for Northern Arts (UK), is one of the first pieces I wrote that is concerned with landscape (and sea-scape). I was living in Northumberland, on the moors north of Newcastle, very near the house where Kathleen Raine had spent her childhood. When I was asked to write a piece for the Cumbria Quartet and mezzo-soprano Elizabeth Lamb, Raine’s poetry was an obvious choice, as its northern imagery was very familiar to me.

Although the piece is designed as a single entity, the quartet falls into four clearly-defined sections in its setting of the four short poems. The vocal writing is relatively simple (rhythmically at least), and the writing for the quartet sometimes reflects the poetic imagery or mood, and is sometimes derived from the formal structure of the poems. The text, which comes from The Oval Mirror published by Hamish Hamilton, is used with the kind permission of the author and her publishers.

• Whitehead: Bright Forms Return; computer-set 

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• Whitehead: Bright Forms Return; facsimile 

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  $29.00
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• Whitehead: Bright Forms Return; facsimile 

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• Lodge: Cantus Intus; facsimile 

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• Lodge: Cantus Intus; facsimile 

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• Elmsly: Cello Symphony; facsimile 

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• Auckland Philharmonia: New Zealand Music 2  Year: 1990 

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• Organ Music by New Zealand Composers, Volume 1; computer-set  Year: 2004 

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  $75.00
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• Burch: Concertino; facsimile 

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• Burch: Concertino; facsimile 

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• Robert Burch: Concertino; audio 

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• Powell: Concerto; computer-set 

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• Powell: Concerto for 2 Violins & Percussion; computer set 

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Commissioned for the opening of the new National Library building in 1987, this work was the centre piece in a concert of New Zealand music which inaugurated the Library’s auditorium. Harris chose Alistair Campbell’s poetry as he has always enjoyed its vernacular quality. Included in the ensemble are some of Harris’ favourite instruments: soprano saxophone, bass clarinet and flugelhorn. Harris views this work almost as a kind of unstaged melodrama. As with his To the Memory of I.S. Totzka (2000), Dreams Yellow Lions was written in a period between work on his operas and acts as a substitute for the larger compositional form. Short instrumental interludes link the songs through various emotional states. “It’s all about memories and I always imagine an old man thinking about his younger days, dreaming away, getting old and becoming sick”.

• Harris: Dreams, Yellow Lions; facsimile 

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• Harris: Dreams, Yellow Lions; facsimile 

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• Waiteata Collection of New Zealand Music Vol. 4 - Composer Portrait: Ross Harris  Year: 1987 

  CD
  
  $15.00
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• Biggs: Four Oriental Pieces; facsimile 

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