Sub Navigation

Search Music:

Search for music by typing a word or phrase in the box below or by selecting one or more categories from the list on the side.

Or search for products by selecting an option below, and typing a word or phrase in the box above

  • Scores
  • CDs and DVDs
  • Downloads
  • Education Resources

Eric Biddington  

A Hutt Suite

 Year: 2009
for oboe, clarinet, five violins and viola

Eric Biddington  

A Hutt Suite

 Year: 2009
for oboe, clarinet, four violins, viola and double bass

Eric Biddington  

Adagio Triste

 Year: 2008
for two violins and piano

Pieta Hextall  

Beating Cry

Duration: 05' 40" Year: 2007
for mixed chamber septets

Karlo Margetic  

Chamber Concertino

Duration: 10' 00" Year: 2005
for chamber ensemble

Yvette Audain  

Devuelve El Favor (Returning the Favour)

Duration: 02' 30" (can vary) Year: 2009
in a Latin jazz style - any lead instrument(s) and accompanimental instrument (eg. flute and guitar)

Ross Carey  

Five Pastorales

Duration: 05' 00" Year: 2000
for oboe and marimba, or oboe and piano

  • Programme Note

    Composed in Dunedin in 2000 at the beginning of my year as Mozart Fellow at the University of Otago, these pieces were inspired by the sight of green tree tops surrounding the Mozart Fellow room at the University’s School of Music building, and also by the restful feeling of the landscape around Dunedin. The fifth of these Pastorales was subsequently arranged for violin and piano as the second movement of A Little Suite for Yuji and Rieko.

  • Availability

Keith Statham  

Flora

Duration: 05' 28" Year: 2003
for clarinet, flute or violin, piano

Rachael Morgan  

idiosyncrasies

Duration: 07' 00" Year: 2004
for B flat clarinet, cello and piano

David Hamilton  

Kristallnacht

 Year: 2009
for mixed chamber quintet

  • Instrumentation
    for flute, guitar, piano and 2 percussion
  • Programme Note

    The 70th anniversary of Kristallnacht (literally “Crystal Night” – or the “Night of Broken Glass”) was commemorated in 2008 as I was beginning to think about this work. In early November 1938 Hitler’s troops attached the Jewish people of Germany, already undergoing considerable suffering at hands of the Nazis. Nearly a hundred were killed, and upwards of 30,000 were arrested and deported to concentration camps. More than 200 synagogues and countless businesses were ransacked. Some consider this event the true beginning of the Holocaust.

    Throughout much of this work there is a sense of busy rhythmic energy – the music is marked “with relentless energy”. In the piece I wanted to give the impression of frantic activity, of people running and trying to escape the Nazi troops. Bursting in on the music from time to time are march-like rhythms, usually from the snare drms, trying to control the flow of the piece. Eventually the music gives way to grotesque march idea which leads through to the climax of the piece. In the middle of the work there is a calmer section which is marked “sadly”. The flute plays a lament against gently dissonant chords from the vibraphone and guitar. This music is the most nearly tonal in the whole piece although there is not a single major or minor chord in the entire work (other than the quote from the Jewish anthem)!

    Once the faster music reasserts itself, the music suggests the Jewish people bing overwhelmed by the force of the Nazi troops. Here, the piece incorporates the Israeli national anthem Ha-Tikva to represent those being attached – the guitar plays it softly in the background and it’s presence is only occasionally heard when the violent music surrounding it stops. The guitar’s music is finally overwhelmed and a percussion outburst marks the climax of the piece. Brief reference back to a series of chords heard earlier, and then ideas from the first part of the work, are combined in a brief Coda. The music ends inconclusively. The running continues.

    Kristallnacht was written for students of New Plymouth Boys’ High School.

  • Availability