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1100;0000; perc: tubular bells; strings. Narrator may be a separate speaker or from the choir. Bells may be able to be played by choir member as required only in final movement.

This celebratory work for choir and orchestra consisting of three Christmas ‘scenes’ brings together arrangements of 15th, 16th and 17th century carols with some of the well-known traditional carols. The audience can be invited to join in with a carols in each section including O Little Town of Bethlehem, The First Nowell and O Come All Ye Faithful.

• Farquhar: A Christmas with Carols; facsimile 

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• Farquhar: A Christmas with Carols; facsimile 

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  $35.00
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• Farquhar: A Christmas with Carols; facsimile 

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  $15.00
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coloratura soprano,mezzo & contralto soloists

• Jagger: A Poet's Requiem; facsimile 

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This music for eleven silent films,including Treasures / Nga Taonga, for clarinet, cello, and piano, would be most suitable for chamber music groups, including secondary school performers.

• Buchanan: Film Music; facsimile 

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soprano, tenor, choir (3 sopranos), flute, oboe/cor anglais, clarinet, bassoon, horn, strings, piano solo

Based on the Noh drama Kocho (“Butterfly”), this chamber opera was written as part of my composition folio for my Honours year of study at Victoria University of Wellington. Although at this particular time I had never heard or seen a Noh drama, I was captivated by this text which I had found in the university library, and decided to make my own setting. This particular drama belongs to the genre of “Spirit Pieces” where the chief motivation is the desire for Nirvana promised by Buddha. In Kocho, the spirit of the butterfly is denied the bliss of Nirvana for a specific reason – her desire for the companionship of the plum blossom that blooms before her time. She tells her story to a travelling monk, asking him to pray for her. In the second act, the butterfly dances joyfully amongst the plum blossoms, her wish fulfilled at last.

The musical language I have used is a mixture of freely written tonal passages with strong doses of modal (often rather Asian sounding, although not based on any particular system) and minor harmonies, as well as minimalist elements. The choir sings mainly in unison, and in contrast to a traditional Noh choir is made up entirely of women’s voices. On occasion the pianist takes on a more soloistic role, as does the leader of the orchestra. Presented in an unstaged performance at Victoria University of Wellington, in November 1991.

• Carey: Kocho; facsimile 

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• Carey: Kocho; facsimile 

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• Carey: Kocho; Facsimile. 

  Vocal score | Hardcopy - facsimile
  

piano

This music was commissioned by Daniel Belton and Good Company for his dance film, entitled Line Dances. It was written for performances in the Otago Festival of Arts, October 2010. The recording and first performances were played by the composer, in collaboration with Daniel Belton. The premiere took place in the Metro Cinema, Dunedin. The music is for 6 short films, each informed by an art work by Paul Klee. The music to these dances is intended to be performed as concert music, or prior to a screening of the films. The films themselves contain elements of the music, crafted into a soundscape by Belton. See www.goodcompanyarts.com.

• Anthony Ritchie: CONCERTINA  Year: 2012 

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unison and 2-part choirs; narrator/s and instruments (piano duet and organ essential; percussion - desirable; flute, clarinet, violin, cello - optional); some audience participation

• Hamilton: Noel!; computer set 

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• The Treble Voice Choral Music of David Hamilton Vol 1 

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  $15.00
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• David Hamilton: Noel! 

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  $30.00
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Main roles for bari, ten; smaller roles for sop, m-sop, alto, ten, 3 bari, 2 bass; additional roles for sop, 2m-sop, alto, ten, bari; 6 children (1 solo); accomp for pf, 2 synth.

• Drummond: Plague upon Eyam; computer-set 

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• John Drummond: Mr Polly at the Potwell Inn   Year: 2000 

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Taonga puoro: optional koauau

This work is for SATB choir, for kapa haka performing karanga, waiata, poi, patere and haka, also for contemporary dance and taonga puoro. It is in three sections: Te Ahiahi(Evening), Te Po (Night), Te Atatu (Dawn), and is a parable for the bicultural journey of Aotearoa New Zealand. In 1986 I wrote the lyrics while studying te Reo Maori at the Kuratini with Teariki Mei and in 1990, I completed the music while doing Composition Honours at Victoria University. In the same year ‘Takiri Mai Te Awatea’ was workshopped at Ngake Poneke Young Maori Club, but it is yet to receive a full performance.

• Fisher: Takiri mai te awatea; facsimile 

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• Fisher: Takiri mai te awatea; facsimile 

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SATB choir of 40; soprano, mezzo and baritone soloists; Maori instruments: pukaea, koauau, putorino, purerehua, putatara, poiawhiowhio, karanga manu; Irish instruments: Irish flute, Uillean pipes, tinn whistles in F and C, bodhran; 2 french horns, 2 trumpets, 1 trombone; percussion: snare drum, conga, bass drum and woodblock; strings

Music drama for choir, kapa haka, orchestra, Maori and Irish instruments and soloists. Directed by Rangimoana Taylor, it includes Maori composition by Wi Kuki Kaa and lyrics by Lauris Edmond. It focuses on Nelson’s Maori-Pakeha history since 1841, stories that have contemporary resonances in Aotearoa/New Zealand.

• Fisher: Taku Wana - the enduring spirit; computer-set 

  Full score | Pdf - computer set
  

• Fisher: Taku Wana - the enduring spirit; computer-set 

  Full score | Hardcopy - computer set
  
  $45.00
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• Taku Wana – the enduring spirit (May 1998) 

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• Taku Wana – the enduring spirit (May 1998) 

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• Fisher: Taku Wana 

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