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John Rimmer  

At the Base of the Whirlpool

Duration: 10' 00" Year: 1996
for bass oboe and bass clarinet

Christopher Blake  

Black on White

Duration: 10' 00" Year: 1996
for piano

Maria Grenfell  

Blue Green Red Black

Duration: 14' 00" Year: 1996
for percussion ensemble of four players

Michael Norris  

Chrysalis

Duration: 10' 00" Year: 1996
for flute and tape

Lyell Cresswell  

Dancing on a Volcano

Duration: 12' 00" Year: 1996
for orchestra

Neville Hall  

in the folds of silence 1

Duration: 12' 00" Year: 1996
for two flutes

Neville Hall  

in the folds of silence 2

Duration: 13' 00" Year: 1996
for two violins

David Griffiths  

Lie Deep, My Love

Duration: 11' 00" Year: 1996
a cycle of three settings of poems by James K. Baxter for SATB choir and soloists

  • Programme Note

    Lie Deep My Love was finished in 1996 and written especially for the New Zealand National Youth Choir who have since performed them frequently. The first song, Lie Deep My Love, depicts the grief and longing for a departed love; the second, Earth does at length, the inevitability of our mortality; and in the third, Blow, wind of fruitfulness, the spirit of the wind is implored to stir life into all creation again.

    Use is made of low bass tessitura, solo voices and canons to create specific colours and textures in the vocal writing and to help characterise those images of New Zealand Baxter was so fond of depicting.

  • Availability

Helen Fisher  

Matairangi-1

Duration: 10' 00" Year: 1996
for cello and piano

  • Programme Note

    Matairangi – 1 for cello and piano is in one movement with two sections: the first is more percussive and energetic, while the second is more melodic. It was partly inspired by the changing and contrasting moods of sea, wind and sky that shape Wellington’s hilly and exposed environment. The title, combining two Maori words, ‘Matai’ meaning ‘sea’ and ‘Rangi’ meaning ‘sky’, is an original name for one of Wellington’s more prominent hills, Mount Victoria.

    Matairangi – 1 was commissioned by Chamber Music New Zealand for James Bush and Sarah Watkins to premiere in 1996, and the funds for the commission were provided by Creative New Zealand Toi Aotearoa.

  • Availability

Juliet Palmer  

Parted Tongues

Duration: 10' 00" Year: 1996
for orchestra

  • Instrumentation
    2(picc)2(CA)22; 2221; perc, 3 timp; hp; strings
  • Programme Note

    “Sparkling parted tongues of flame crackling forth from the apostles’ heads, their mouths spouting languages intelligible to all”. Music can be a kind of ‘outpouring’, a creative combustion that we try to make intelligible with words. The piece begins as a steady, simple walk – like strolling down an old wooden pier. The boards creak, nails shake loose, the whole rickety structure shudders and quakes. Right at the end of the wharf, where the water laps the wood, there’s a barnacle – beautiful, ugly, and stubborn all at the same time. How can this small creature cling to one place for its entire life?

  • Availability