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Lissa Meridan  

firecracker

Duration: 04' 00" Year: 1998
for symphony orchestra

John Rimmer  

Galileo

Duration: 1h 30' 00" Year: 1998
a chamber opera using for 6 singers, small chorus and 8 players, also using electroacoustic music and DVD of visuals

  • Instrumentation
    Television newsreader (spoken voice), Nobelman (baritone), Castelli (tenor), Galileo (baritone), Boy/Angel (mezzo soprano), Three Priests (tenor/baritones), Heretic (baritone), Christina (soprano), Military Man (baritone), Sea Captain (baritone), Troubadour (mezzo soprano), Cardinal Bellarmino (tenor), Pope Urban VIII (bass baritone), Pope John Paul II (baritone), small chorus of townspeople; flute doubling piccolo, oboe, clarinet doubling bass clarinet, horn, piano, percussion, violin and cello. Electroacoustic music played through at least eight loudspeakers. DVD of visuals.
  • Availability

Anthony Ritchie  

Memories of Budapest (Opus 87)

Duration: 11' 00" Year: 1998
sextet for horn, 2 violins, 2 violas and cello

David N. Childs  

Salve Regina

Duration: 04' 00" Year: 1998
for SATB choir

Gareth Farr  

Te Papa

Duration: 10' 00" Year: 1998
for orchestra with mezzo-soprano, tenor and soprano (Maori karanga) soloists

  • Instrumentation
    2,2,2,2; 4,3,2,(1),1; karanga, soprano, baritone; 6 percussionists, timp., hp; strings
  • Programme Note

    The thing that struck me about Charm when I first read it, was the wonderful concept of the spirit of the land – te wairua o te whenua. The land is our mother, she cares for all of her children. We have all at some point in time been a stranger to this land, and as visitors, we have all been welcomed by her.

    Charm is a poem from the mid 19th century, a time when all Europeans were recent visitors to the land. It is likely, however that this poem was a Maori charm originally, translated into English by settlers, suggesting that Maori also felt the same way about Aotearoa.

    We now live in a unique multi-cultural society. Our many and varied contemporary art forms reflect this fact, and display something that could only be created here. This piece is a recognition of the similarities and differences of all of the cultures of New Zealand. It is a musical analogy to my idea that cultures can co-exist without overshadowing or changing one other. And finally, it is a musical celebration that we all have ended up here on the same soil.

    Gareth Farr

  • Availability