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Anzacs Remembered is a setting of a verse from For the Fallen by Laurence Binyon spoken each 6pm at RSA’s throughout Australia and New Zealand.

They shall grow not old, as we that are left grow old:
Age shall not weary them, nor the years condemn.
At the going down of the sun and in the morning
We will remember them.
- Laurence Binyon

• Rimmer: Anzacs Remembered; computer-set 

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• Rimmer: Anzacs Remembered; computer-set 

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• Rimmer: Anzacs Remembered; computer-set 

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• Rimmer: Anzacs Remembered; computer-set 

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solo cor anglais, flute, horn in F, strings

In 2010, I co-wrote The Lover’s Knot with playwright Renee Liang as part of the 2010-2011 Auckland Philharmonia Orchestra Composer Workshops, which led to a performance with actor Stuart Devenie and conductor Kenneth Young. Stuart played the role of Walter Bolton, the last man given the death penalty in New Zealand, in the hours before his execution.

Various instruments represent various characters in this story – clarinet for Bolton’s flighty paramour Florence, contrabassoon for the stench of death, and harmon-muted trombones for the justice system. Bolton’s ailing wife Beatrice is represented by extensive solos for the cor anglais. At the request of Lee Martelli, Education Manager of the APO, I excerpted one of these into a demonstration piece for an education concert.

• Ellis: Beatrice; hire set 

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• Ellis: Beatrice; computer set 

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• Ellis: Beatrice; computer set 

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SSA and TTB arrangements are also available

By the Rivers of Babylon is a vocal setting of Psalm 137

• Graham Parsons: By the Rivers of Babylon (SATB) - hardcopy score 

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• Graham Parsons: By the Rivers of Babylon (SATB) - downloadable PDF 

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SATB and TTB arrangements are also available

By the Rivers of Babylon is a vocal setting of Psalm 137

• Graham Parsons: By the Rivers of Babylon (SSA or TTB) - hardcopy score 

  Full score | Hardcopy - computer set
  
  $9.50
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• Graham Parsons: By the Rivers of Babylon (SSA or TTB) - downloadable PDF 

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SATB and SSA arrangements are also available

By the Rivers of Babylon is a vocal setting of Psalm 137

• Graham Parsons: By the Rivers of Babylon (SSA or TTB) - downloadable PDF 

  Full score | Pdf - computer set
  
  $7.00
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• Graham Parsons: By the Rivers of Babylon (SSA or TTB) - hardcopy score 

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A setting of a poem by Canadian poet Dennis Lee. “Dopey” comes from the 2007 poetry collection “Yesno”, evoking – in the author’s words – “a world in which the demolition derby and the possibility of living more constructively in the natural order are both real. And at once. So, not just no; not just yes; but yesno.”

• Palmer: Dopey; computer set 

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• Palmer: Dopey; computer set 

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Laudate Dominum is a setting of Psalm 150, which a psalm in praise of God. It begins with an antiphonal section, Sopranos and Tenors against Altos and Bass before moving into four part harmony.

• Graham Parsons: Laudate Dominum (Psalm 150) - downloadable PDF 

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• Graham Parsons: Laudate Dominum (Psalm 150) - hardcopy score 

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also more difficult versions for SATB or ATBB available here

This is a modern folk song about the history of glass-making in Sunderland. It is part of a collection of songs about the River Wear, “Winter Wear”. It can be performed as a Christmas song, or at other times of year. It is not especially religious.

Glass-making has always played an important role in the cultural and industrial history and soul of Sunderland and the River Wear: Benedict Biscop’s unique use of French glass-makers to fill in the windows of his monastery church, St. Peter’s in the 9th century; the industrial melting pot of the 19th century where the abundant supply of coal from the Durham coalfield, ferried down the River Wear fuelled several industries, most notably steel-making, shipbuilding and glass making; the European monopoly of Joblings Glassworks making heatproof oven-ware out of Pyrex in the mid- 20th century; and the National Glass Centre of today in which students at the University and glass artists from around the country craft enchanting art works. The first people to see each of these phenomena must have been transfixed by the novelty they were witnessing. This song portrays the response to each of these first encounters with the magical glass.

• Camm: Magical Glass; computer set 

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• Camm: Magical Glass; computer set 

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also simpler versions for SSAA or TTBB available here

This is a modern folk song about the history of glass-making in Sunderland. It is part of a collection of songs about the River Wear, “Winter Wear”. It can be performed as a Christmas song, or at other times of year. It is not especially religious.

Glass-making has always played an important role in the cultural and industrial history and soul of Sunderland and the River Wear: Benedict Biscop’s unique use of French glass-makers to fill in the windows of his monastery church, St. Peter’s in the 9th century; the industrial melting pot of the 19th century where the abundant supply of coal from the Durham coalfield, ferried down the River Wear fuelled several industries, most notably steel-making, shipbuilding and glass making; the European monopoly of Joblings Glassworks making heatproof oven-ware out of Pyrex in the mid- 20th century; and the National Glass Centre of today in which students at the University and glass artists from around the country craft enchanting art works. The first people to see each of these phenomena must have been transfixed by the novelty they were witnessing. This song portrays the response to each of these first encounters with the magical glass.

• Camm: Magical Glass; computer set 

  Full score | Hardcopy - computer set
  
  $9.50
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• Camm: Magical Glass; computer set 

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Flute 1, flute 2, oboe, clarinet 1, clarinet 2, clarinet 3, bass clarinet, alto saxophone, tenor saxophone, baritone saxophone, bassoon, horn in F, trumpet 1, trumpet 2, trombone 1, trombone 2, euphonium, tuba/string bass, timpani, snare drum, bass drum, cymbals, xylophone

This work was commissioned by the Manukau City Concert Band (cond. Kathleen Mulligan), on the occasion of their 40th anniversary. By chance, at time of writing, it was also the 10-year anniversary of another work of mine, Earthbound Wings, a symphonic poem for wind orchestra. Said work is, to say the least, warlike, and Skirmish In Seven echoes part of it in its use of 7/8 meter coupled with insistent snare drum ostinati. The ‘skirmish’ of the title is also reflected by clear juxtapositions of sections that contrast in both instrumentation and mood: just when you think we are in a gentle, consonant frame of mind, along comes the dissonance and percussiveness.

• Yvette Audain: Skirmish in Seven - hardcopy score & parts 

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  $50.00
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• Yvette Audain: Skirmish in Seven - downloadable PDF 

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