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for solo percussion: triangle (medium size), cow bell, three suspended cymbals (small, medium and large), four temple blocks, a pair of bongos, four roto-toms and xylophone (or marimba); 3120; tenor sax; 0221(opt.); strings

This short work was written for the orchestra of Auckland Grammar School and a talented senior student percussionist. It is in a straight-forward tonal style, including a cadenza for the soloist.

The work consists of three main ideas. Follow a short introduction the xylophone presents the main melodic material of the first idea. The 2nd main idea is chromatic chord that builds through the orchestra several times. Against this the percussion has more angular melodic material and more syncopated rhythmic ideas. The second section builds to a climax which immediately gives way to the 3rd section which is fugal. The melody from the 1st section re-appears, not as the fugue subject, but rather as the counter-subject of the fugue. This section mainly features the woodwind section of the orchestra interacting with the percussionist. The fugue winds down into a short cadenza for the soloist, and then material from the opening two sections is recapitulated in abbreviated form. The music builds to a final climax.

The percussion part avoids exotic or unusual instruments, favouring basic equipment found in most school music departments with an active instrumental programme. The only tuned percussion instrument is a xylophone, with the remainder being a mix of wood, skin and metal instruments.

• Hamilton: Concertino for Percussion and Chamber Orchestra; computer-set 

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• Hamilton: Concertino For Percussion and Chamber Orchestra; computer-set 

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• Hamilton: Concertino for Percussion and Chamber Orchestra; computer-set 

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• Hamilton: Concertino For Percussion and Chamber Orchestra; computer-set 

  Piano reduction | Hardcopy - computer set
  
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• Hamilton: Passacaglia; computer-set 

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  $18.00
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• Hamilton: Passacaglia; computer-set 

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• Kiwi Flute  Year: 1995 

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Clarinet in Bb, Trumpet in Bb, Trombone, Solo Baritone, Piano, Electric Guitar, Bass Guitar, Drum Kit, Violin I, Violin II, Viola, Cello, Double Bass.

• Robbie Ellis: Root Vegetable Opera - hardcopy score 

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chamber orchestra: alto flute, oboe, bass clarinet, bassoon, horn, trumpet, trombone, tuba, perc., strings.

Both So Long, Marianne and I were born in 1967. Leonard Cohen’s song lodged itself in my brain at an undetermined point somewhere between that first release and the present. The moment that stuck in my mind most clearly was when the back-up singers wiggled their way upwards in the chorus on “Marianne” (a moment which fails to reappear in my own version of the song). Now Marianne’s name has gone, and I hope I have found a way to make the song new. I don’t remember ever hearing the words to the verse I’ve set, but I can imagine Trisha on a window ledge, miles above the traffic, stuttering a song of goodbye. So long.

• Palmer: So Long; computer-set 

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• Palmer: So Long; computer-set 

  Parts - written | Pdf - computer set
  

• Palmer: So Long; computer-set 

  Full score | Hardcopy - computer set
  
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• Palmer: So Long; computer-set 

  Full score | Pdf - computer set
  

Tenor, Percussion (timpani, gong, vibraphone, marimba, triangle), Strings

‘Te Arikinui’ for tenor, strings and percussion is an homage to the late Māori Queen, Dame Te Atairangikāhu. Its composition was suggested by the late Dr Mīria Simpson in 1991. In that year, the New Zealand Symphony Orchestra travelled to Ngāruawāhia, outside of Hamilton, to celebrate the 25th anniversary of the Coronation of Dame Te Atairangikāhu. It was Mīria’s idea that a piece of music be commissioned for this occasion.

She approached Tīmoti Kāretu of Ngāi Tūhoe for a text befitting this purpose. Late in 1990, she approached myself to compose the music, which I readily agreed to. Unfortunately, the invitation came quite late and there was not enough time to complete the composition. A first version, however, was completed late in 1991 but it was not performed.

An opportunity to perform the piece came in 2003 when Ngāti Kahungunu violinist Elena approached me to support the development of her project entitled ’Elena’s Cultural Symphony’. I asked a colleague, Craig Utting, to assist with the scoring of a new version of Te Arikinui. This was completed and the work was then performed as part of ’Elena’s Cultural Symphony’ in 2004 by members of the then NGC Wellington Symphonia at the Michael Fowler Centre, Wellington. Unfortunately, I was not satisfied with the work and decided to rework the piece.

I revised the piece in 2005 and 2006 and in that time there were a number of attempts to perform the work in the presence of Dame Te Atairangikāhu (including a proposed performance at Government House, Wellington, in honour of Dame Te Ata’s 30th anniversary in 2006). Unfortunately, none of these were successful. The work was never performed before her as Dame Te Ata passed away in 2006.

It was not until 2010 when the piece was finally performed in its current version at the WEL Energy Academy of Performing Arts, Waikato University, Hamilton. The occasion was the ‘Kīngitanga Day’ held at the university each year to celebrate King Tūheitia’s birthday on 14 April. And so on that day, 14th April 2010, the piece was finally performed in the presence of the King, with his wife Te Atawhai, in the Academy. It was performed by the Waikato University Orchestra conducted by Adam Maha. Howard McGuire, from Ngāti Kahungunu, was the singer.

• Royal: Te Arikinui; computer set 

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• Royal: Te Arikinui; computer set 

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• Charles Royal: Te Arikinui; video 

  Media on Demand | Embedded
  

for solo clarinet, percussion, harp, and strings. Percussion 1 (glockenspiel, maraca), Percussion 2 (suspended cymbal, 3 toms)

Bruce Mason’s one-man play The End of the Golden Weather is the story of a 1930s summer spent by the sea, seen through the eyes of a twelve-year-old boy. It is one of the most popular and enduring works of New Zealand theatre, conveying as it does something of the nostalgia shared by most New Zealand for childhood holidays spent at the beach. Bruce Mason performed the work nearly a thousand times over tow decades from 1959, in towns and cities throughout the country, but it was not until 2000 that the play was professionally revived in a performance by Peter Vere-Jones. Gareth Farr wrote incidental music for the production, and later expanded this materials into a four-movement suite for clarinet and string with harp and percussion. The title, Te Parenga, is Mason’s name for the fictionalised Auckland beachfront suburb of Takapuna where the play is set.

• Farr: Te Parenga; computer-set 

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• Warriors From Pluto - music by Gareth Farr 

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• Island Song  Year: 2010 

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fl, cl, bn, trps, alto sax, strs, pf, drums

• Archer: The Musical Menagerie; facsimile 

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0121;2000;timp;strs.

• Ritchie J.: Snow Goose (hire set); computer set 

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• Ritchie J.: The Snow Goose; computer-set 

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• Kiwi Flute  Year: 1995 

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