Search Music:

• Bolley: Concerto for orchestra; facsimile 

  Full score | Pdf - facsimile
  

• Bolley: Concerto for orchestra; facsimile 

  Full score | Hardcopy - facsimile
  
  • Borrow

This work commissioned by the City of Aberdeen is in one continuous movement comprising eleven sections. The orchestra has 3 roles – to accompany, to assist the quartet and to supply much of the musical argument – it is of equal importance to the quartet. At its first performance, this work was described as “astoundingly successful”.

• Cresswell: Concerto for Orchestra and String Quartet; computer set 

  Full score | Hardcopy - computer set
  
  • Borrow

• New Zealand New Music in Scotland 

  CD
  
  • Borrow

• Ryan: Concerto for tuba and orchestra; computer-set 

  Piano reduction | Hardcopy - computer set
  
  • Borrow

• Ryan: Concerto for tuba and orchestra; computer-set 

  Piano reduction | Hardcopy - computer set
  
  • Borrow

In 3 movements, this work was reviewed as follows, “There are proper tunes, there are pattems that can be traced, brass and percussion in abundance, and rhythms that dance light off the stage at you.” Christchurch Press 11-95. This work was commissioned and premiered by the Christchurch Symphony Orchestra.

• Norman: Concerto; computer-set 

  Full score | Hardcopy - computer set
  
  $25.00
  • • Quantity:
  • Borrow

• Orchestra Works: Body and Norman 

  Cassette
  
  • Borrow

First performed by the Scottish Chamber Orchestra conducted by Joseph Swenson with Christian Lindberg as soloist in St. Andrews 18 February 1998.

‘Kaea’: a wooden Maori war trumpet, somewhere between four and six feet in length with a diameter of about one inch at the blowing end widening to about eight inches at the bell. It was made of hollow sections of wood lashed together with a flax cord. Wedges of wood were glued to the bell to amplify and direct the sound. Inside the bell end it was fitted with a tongue or vibrating reed. The sound was loud and booming and was used to raise the alarm in times of danger or to terrify the enemy by shouting curses through it.

• Cresswell: Kaea; computer-set 

  Full score | Pdf - computer set
  
  $60.00
  • • Quantity:

• Cresswell: Kaea; computer-set 

  Full score | Hardcopy - computer set
  
  $60.00
  • • Quantity:
  • Borrow

• Lyell Cresswell: The Voice Inside 

  CD
  
  $15.00
  • • Quantity:
  • Borrow

Maui Tikitiki a Taranga (“Maui formed in the topknot of Taranga”) was a demi-god found in the tribal myths of the Māori people of New Zealand.

Maui, the fifth and youngest child, was born at the edge of the sea. His mother, Taranga, thought he was stillborn, and wrapped him in a tuft of her hair and set him adrift. He was cared for by the seaweed until a breeze blew him ashore, where he was saved and brought up by one of his great-ancestors.

Maui was a great prankster. In one of his mischievous moods he decided to put out all the fires in the world. To bring fire back, he had to find Mahuika, the goddess of fire. He was awestruck upon meeting her, but decided to play a trick on her by taking fire from her fingernails one at a time, until she realised his game and threw fire to the ground, catching everything alight. Maui changed himself into a hawk to escape the flames, which singed his feathers. He called upon his ancestor to send rain and drench the fire, depriving Mahuika of her powers.

Maui decided to defeat death by journeying to where the earth meets the sky, where lived his great-ancestress Hine nui te po (“Great Hine the Night”). He was accompanied by many birds, and told them his plan to enter the body of the sleeping Hine and so defeat death. The birds sat quietly trying not to laugh as Maui, in the form of a caterpillar, crawled towards Hine. Suddenly the fantail could be quiet no longer and laughed aloud, dancing about with delight. Hine awoke with a start, realised Maui’s trickery, and he was killed.

• Maria Grenfell: Maui Tikitiki a Taranga - hardcopy score 

  Full score | Hardcopy - computer set
  
  $44.00
  • • Quantity:
  • Borrow

• Maria Grenfell: Maui Tikitiki a Taranga - downloadable PDF 

  Full score | Pdf - computer set
  
  $37.00

• Maria Grenfell: Maui Tikitiki a Taranga - hire set 

  Score and parts | Hardcopy - computer set
  
  • Hire

• Maria Grenfell: Maui tikitiki a Taranga; audio 

  Media on Demand | Embedded
  

• Grenfell: Four Works 

  CD
  
  • Borrow

• Grenfell: Maui Tikitiki a Taranga; cassette 

  Cassette
  
  • Borrow

• Norman/Grenfell/MacKenzie; cassette 

  Cassette
  
  • Borrow

This work for orchestra and organ was commissioned by Uwe Alexander-Grodd and the St. Matthews Chamber Orchestra and premiered in November 1996. Based on Maori themes, it is in three movements.

• John Wells: Organ Concerto (organ part) - hardcopy score 

  Parts - written | Hardcopy - computer set
  
  $22.50
  • • Quantity:
  • Borrow

• Wells plays Wells 

  CD
  
  $32.50
  • • Quantity:
  • Borrow

A central idea to ‘Symphony in Five Movements’ concerns aspects of timing. Its form was partially inspired by the martial arts treatise ‘Go Rin No Sho’ (A Book of Five Rings), which considers timing and its relationship to strategy. The five books are: Ground, Water, Fire, Wind & Void. There is a loose correspondence between the inspiration behind some of the movements and each of the ‘books.’ Thus, the third movement refers to the book of tradition ‘wind’ and consequently, is modelled on a scherzo, not only paying tribute to Beethoven, but in a broader sense indicating the desire to give the entire work a historical reference. The Introduction or first movement is analogous to the ‘ground’ book (the path), outlining the Symphony’s musical ideas. The fifth movement (‘void’) has a strongly rhythmic structure with contemporary influence throughout, reflected in, and overlayed with its violin-based lyrical stream. This strongly linear work was described by Denys Trussell in a subsequent review for ‘Quote Unquote’ after its Auckland Philharmonia Orchestra performance in 1996 as being “rich with feeling and atmosphere.” The fourth and fifith movements were given a reading by the New Zealand Symphony Orchestra conducted by Hamish McKeich at the NZSO – SOUNZ Readings in October 2001 in Wellington.

• Keay: Symphony in Five Movements; computer-set 

  Full score | Pdf - computer set
  

• Keay: Symphony in Five Movements; computer-set 

  Full score | Hardcopy - computer set
  
  • Borrow

• Nigel Keay: Symphony in Five Movements; audio 

  Media on Demand | Embedded
  

• New Zealand Music: Marshall and Keay 

  Cassette
  
  • Borrow

• Nigel Keay: Works 

  Cassette
  
  • Borrow

• APO Commissions of NZ Music 1995 - 1997 

  Cassette
  
  • Borrow

Completed as the major work during Martin Lodge’s year as composer in residence with the Auckland Philharmonia, this single movement symphony for large orchestra has been hailed as “a remarkably poised and beautiful work… [containing] some of the most moving and beautiful melodic writing I have heard … Martin Lodge is a single-purposed writer with the true symphonist’s knack of sustaining an idea with economy”. (Ian Dando, Music in New Zealand).

• Lodge: Symphony No. 1; facsimile 

  Full score | Hardcopy - facsimile
  
  • Borrow

At age 15, during school holidays, I hitch-hiked the length of New Zealand from Dunedin to Auckland with various side trips in between. The sheer beauty and panorama of rolling hills, lofty mountains and shimmering sea entered my soul and stayed there. Sleeping rough in the great openness somehow connected me to the natural wonders that were all around me and this connection became ingrained and part of my being.
The composing of my first symphony allowed me to relive that life changing experience and the work recalls impressions and emotions that I felt at the time, but not specific places.
-Denis Betro

• Betro: Symphony No.1; computer set 

  Score and parts | Hardcopy - computer set
  
  • Hire

• Denis Betro: Symphony No.1; audio 

  Media on Demand | Internal - audio
  

• Betro: Symphony No.1 

  CD
  
  • Borrow