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2222; 4230; timp, perc; strs.

This music was originally commissioned by Richard Campion for the New Zealand Players’ production of Ring Round the Moon by Jean Ahhouil, translated by Christopher Fry. In the second act there is a ball taking place offstage and demanding a large number of dances which are specified in the text.

The music was first recorded on acetate discs by a ad hoc orchestra led by Alex Lindsay; these small recordings were then played through speakers for the production, sounding very loud to the cast but filtering out more gently to the audience. At the end of the long national tour, the cast knew the music very well and suggested to me that I should do something with it.

The result, some years later, 1957, was a suite of nine dances first performed by the Alex Lindsay Orchestra. This rapidly became my most performed piece and was commercially recorded by the Alex Lindsay Orchestra in the 1960s, a recording still available today from Kiwi Pacific Reords.

Ashley Heenen, through the NZ APRA Committee, commissioned an arrangement for full orchestra for the NZ Youth Orchestra to take on a tour of Europe and China in 1975. This version was shortened to six dances by leaving out the first three numbers. The music has also been used for a ballet, The Wintergarden, choreographed by Arthur Turnbull for the Royal New Zealand Ballet Company – this version included a tenth dance not in the 1957 Suite. Since 1975 two further version have been commissioned: Waltz Suite (1989), for string orchestra (five dances) for the Nova Strings, and an arrangement of the original Dance Suite (1992) for violin and piano (nine dances) for Isador Saslav.

• Farquhar: Short Suite from Ring Round the Moon; computer-set 

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• Farquhar: A Short Suite from Ring Round the Moon; computer-set 

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• Farquhar: Short Suite from Ring Round the Moon; computer set 

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• SOUNZ Orchestral 1993 

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• New Zealand Composers  Year: 1995 

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10 singers, childrens' chorus, orchestra: 2121; 2200; perc., pno; strings

A Christmas opera in 3 acts, based on a Ngaio Marsh play, and including audience participation in a number of carols.

• Farquhar: A Unicorn for Christmas; facsimile 

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• Farquhar: A Unicorn for Christmas; facsimile 

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• Farquhar: A Unicorn for Christmas 

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2 sopranos playing percussion; 1 bass playing percussion; Bass; Tenor; Dancer; women's chorus; flute, alto flute, clarinet in A, bass clarinet, bassoon; horn, trombone, bass trombone; timpani, piano; strings (including solo electric violin); Percussion: Javanese drums, bass drum, tamtam and optional Javanese gong, gender, slentem, kempul.

An operatic setting of the dance-play by W.B. Yeats which is also performable as a dramatic cantata in a concert version. This is a one-act work and is ritualistic in nature reflecting Yeats’ modeling of the text on the Japanese Noh play. The music is at times dark and atmospherlc, and the archetypal symbolism and metaphysical suggestion of the text, wlth its archaic language and bleak images, is a rich source of inspiration for this. The musical language is comprehensive with tonality and atonality used in conjunction with each other to express literary ideas. Written for five solo singers with the main roles being a tenor and a bass, and a dancer, the backing ii provided by a 30 or so piece orchestra including piano, solo electric violin, and gamelan instruments.
(Programme note from composer’s website)

• Keay: At the Hawk's Well; facsimile 

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• Keay: At the Hawk's Well; facsimile 

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• Nigel Keay: At the Hawk's Well; video 

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• Nigel Keay: At the Hawk's Well 

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• Nigel Keay: At the Hawk's Well 

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voice and piano

Away with the Fairies is a string of kitsch songs about fairies and pixies, animals and children. They are linked by recitatives which, like the songs, include quotations from other composers’ music.

• William Dart: Song Book; computer-set 

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2sop,1ten,2bari,SATB chorus and orchestra: (2)22(2)2(2); 2220; 2perc,timp,2keyb; strs.

Bitter Calm is a full length opera for five principals, chorus and orchestra in two acts. It is based on an incident at Motuarohia Island in the Bay of Islands, New Zealand in the 1840s. It is a drama of human passions in the contexts of land alienation and tensions between Maori and new settlers. Premiered at the New Zealand International Festival for the Arts in 1994 and filmed for television.

• Blake: Bitter Calm; facsimile 

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• Blake: Bitter Calm; facsimile 

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• Blake: Bitter Calm (Scenes 1-3) 

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2*222; 4231; timp.; perc.(4); SATB chorus; vocal soloists; strings

• Harris: Black Ice; computer set 

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bagpipes, cello, marimba/harp/tenor drum (1 player), violin, flute/piccolo (1 player), clarinet/bass clarinet/soprano and alto saxophones (1 player)

This dance theatre project was commissioned to celebrate the New Zealand Women’s Suffrage Centennial, and explores a range of historical and contemporary issues. It is based on documents written by Kate Shepherd and was choreographed by Susan Jordan.

• Fisher: Bone of Contention; facsimile 

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• Fisher: Bone of Contention (excerpt); facsimile 

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• Helen Fisher: Bone of Contention  Year: 1993 

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Solo baritone, childrens' chorus Orchestra: 2222; 2220; timp., perc.(2), pno, organ; no strings. Uses slide projections

The first version was written in 1981 collectively with Andre Fischer, a pupil at the Kantonsschule Zürcher Unterland in Bülach. It is a setting of words from an advent calendar by Max Bolliger. It is scored for baritone soloist (Christophorus), children’s chorus and wind orchestra, with percussion. The work was performed twice in December 1981.

Christophorus tells the story of St. Christopher, a very strong man, who is searching for an ogre who rules the world. Each year, instead of finding the ogre, he finds a child in distress. In the eighth year, still searching, he meets Mary and Joseph in Bethlehem. During the night, when Jesus is born, the child speaks to him and says he has met the ogre seven times already. Christophorus now knows what the ogre is, but is much less sure of his ability to conquer lt.

The characters of and the children whom he meets are dressed in costume, but do not act. The Cantata is, however, illustrated by a series of slides which are shown during the whole performance.

In 1982 in Christchurch I revised Christophorus and translated the text into English. It was performed for a season before Christmas of that year, with James Dames singing the part of Christophorus. This revised version has double wind, piano, organ and three percussionists, plus the children’s chorus. A recording was made.

• Powell: Christophorus; facsimile 

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• Palmer: Cypress; computer set 

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• Palmer: Cypress; computer set 

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treble recorder plays triangle, narrator should be male voice, and the mezzo is also required to dance. This work can also be performed by one person as a concert work, if the dance is omitted. Songs can be performed as separate works.

• Jagger: Dreams in the Grass; facsimile 

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