Search Music:

This piece was composed in close collaboration with Andrew Sparling whose facility in using quarter-tone fingerings made it possible to experiment with these to produce music which exploits their timbral and colouristic qualities. It was stimulated by a return visit, following a seven-year absence, to New Zealand in 2002. Imagery of the sea is strong within its musical/poetic discourse and the piece is broadly structured over a cycle of seven ‘intensity waves’. The title is shared by an earlier work […and… 11] for 12 players (composed for Lontano in 2002). The link between these contrasting works is the morphology of the wave, encapsulated as a sonic envelope of aspirate (a) – resonant (n) – explosive (d), along with the extremes of space that are characterised in the music by extreme contrasts in dynamic, register and motion. Sparling has performed and recorded the piece in a number of different realisations. In April it was performed by Australian player Richard Haynes at the TURA International Festival in Perth and broadcast by ABC.

• Ker: [...and...1]; computer-set 

  Full score | Pdf - computer set
  
  $12.00
  • • Quantity:

• diffracted terrains: Chamber Music of Dorothy Ker  Year: 2007 

  CD
  
  $35.00
  • • Quantity:
  • Borrow

• Childs, D.N.: A Blessing; computer set  Year: 2003 

  Full score | Hardcopy - computer set
  
  • Borrow

• Cruise-Johnston: A Grand Old Mix Up; computer-set 

  Full score | Hardcopy - computer set
  
  $10.00
  • • Quantity:
  • Borrow

• Beresford: A Jaunty Tune; computer-set 

  Full score | Hardcopy - computer set
  
  $17.00
  • • Quantity:
  • Borrow

The five movements of my suite are arrangements for violin and piano of various occasional pieces of mine composed between 1996 and 2002. The final movement is subtitled Snow Flurry as the original upon which it is based was written during an early winter snow storm in Toronto in November, 2002.

• Carey: A Little Suite for Yuji and Rieko; facsimile 

  Full score | Pdf - facsimile
  

• Carey: A Little Suite for Yuji and Rieko; facsimile  Year: 2003 

  Full score | Hardcopy - facsimile
  
  $25.00
  • • Quantity:
  • Borrow

A short song for female voices (SSAA) and piano with a humorous twist at the end.

• Douglas: A Melancholy Song; computer set 

  Full score | Pdf - computer set
  
  $3.50
  • • Quantity:

• Douglas: A Melancholy Song; computer set 

  Full score | Hardcopy - computer set
  
  $3.50
  • • Quantity:
  • Borrow

1 piccolo, 2 flutes, 2 oboes, 2 clarinets in B flat, 1 bass clarinet in B flat, 2 bassoons, 4 French horns in F, 2 trumpets in C, 2 trombones, 1 bass trombone, timpani, percussion 1: suspended cymbal, percussion 2: triangle, harp, vibraphone, strings

A message to Han Cho (the Yangzhou magistrate) for orchestra was inspired by the Chinese poem, A message to Han Cho by Du Mu (803-852AD, China) in the Chinese Tang dynasty. In this poem Du Mu expresses the sadness of the magistrate yearned for the day to return to his distant love. This orchestral work contains musical ideas influenced by the Eastern culture and utilising Western orchestration to imitate the sound of Chinese instruments (Chinese zither and vertical bamboo flute) to purposely maintain the cultural connection with the original tenor of the poem. To achieve this synthesis I experimented with the pronunciation of the poem in Mandarin, and then compose the melodic lines to suit the four-line poem which became the theme of the music. The image of a fair lady plays the flute under the moon on the Twenty-Four Bridges is a traditional Chinese painting specially selected for this particular poem.

青山隱隱水迢迢, From mist the green hills emerge and afar the river flows,
秋盡江南草木凋. grass still grows in Jiangnan, yet the end of fall is close.
二十四橋明月夜, Over the Twenty-Four Bridges the bright moon glows,
玉人何處教吹簫. where the fair lady teaches the flute no one knows.

• Chen: A message to Han Cho; computer-set 

  Full score | Hardcopy - computer set
  
  $21.50
  • • Quantity:
  • Borrow

• Chen: A message to Han Cho; computer-set 

  Full score | Pdf - computer set
  

the soloists can be choir members (no need for extra soloists) and it might be possible for the solos to be divided amongst several singers. The written keyboard part, although intended for rehearsal only could be performed with the choir, but on an organ only

• Hamilton: A New Commandment; computer-set 

  Full score | Hardcopy - computer set
  
  • Borrow

• Hamilton: A New Commandment; computer-set 

  Full score | Pdf - computer set
  

• Hamilton: A New Commandment; computer-set 

  Full score | Hardcopy - computer set
  
  • Borrow

A Village Wedding combines two different conceptual approaches; that of the program piece wherein images or activity is described by music; and that of the concerto grosso, a Baroque form which both collectively and individually showcases the players of an ensemble. In the latter case, the piece would seem to fulfill many if not all of the 18th-century requirements. After an overture, movements based on dance rhythms ensue, including the Pavane, March, Gigue, and Rigadoon. Yet the material is cast in a mold that is necessarily programmatic. The Overture, with its opening solemnity, birdsong trills, and developing energy, is intended to describe the bright Sunday morning of a country village, along with the excitement and bustle of wedding preparations. The _Meditation_’s searching cadenza and pensive sweetness exhorts the attendants to send out their blessings to the bride and groom, while the Processional calls the wedding party to the altar. The Dance at the end paints a fiddler’s paradise of flying knees and elbows to jigs and reels as the whole village joins in the revelry.

The piece is dedicated to the composer’s fiancée Erica, and acknowledges with gratitude and appreciation the dedication and excellence of the members of the YPCO.

• Goss: A Village Wedding; computer-set 

  Score and parts | Pdf - computer set
  

• Goss: A Village Wedding; computer-set 

  Full score | Hardcopy - computer set
  
  • Borrow

• Goss: A Village Wedding; computer-set 

  Score and parts | Hardcopy - computer set
  
  • Hire

• Thomas Goss: A Village Wedding 

  Digital sound file - MP3
  

for violin, cello and piano

In January 1998 Gareth Farr was commissioned by the James Wallace Chariable Trust to write this Piano Trio for the Ogen Trio, a leading NZ ensemble. Taking its subtitle Ahi from the Maori word for “fire”, it received its debut performance in Auckland, NZ in March 1998 in the presence of the composer. The style of the work varies in each of the four movements: the flavour of a French lullaby predominates in the first; an intense and unrelenting second movement harbours overtones of a Russian military factory; whilst a Balinese pop-inspired fourth movement contains numerous gamelan-like effects. The brief third movement is merely a quiet interlude, with a melodic reference to the first movement. The composition stands in stark contrast to Farr’s previous works. He has experimented with stripping away the density characteristic of past compositions in favour of clearer textures, exploring classical form, and allowing a simplicity of line to come through and speak for itself.

• Farr: Ahi; computer-set 

  Full score | Hardcopy - computer set
  
  • Borrow

• Gareth Farr: Ahi; video 

  Media on Demand | External - video
  

• Gareth Farr: Ahi; audio 

  Media on Demand | Embedded
  

• Ogen Trio - Piano Trios by Beethoven, Dvorak and Farr  Year: 1999 

  CD
  
  $30.00
  • • Quantity:
  • Borrow

• New Zealand Trio - Spark  Year: 2004 

  CD
  
  $30.00
  • • Quantity:
  • Borrow

• Ahi - The Ogen Trio  Year: 2008 

  CD
  
  $30.00
  • • Quantity:
  • Borrow