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Juliet Palmer  

5 Cactus Dreams

Duration: 05' 00" Year: 1988
for voice and chamber ensemble

  • Instrumentation
    vocalist, oboe, tenor saxophone, viola, cello, cactus and camera flash. Performed in darkness with light flashes to trigger each movement - performers also walk while playing.
  • Availability

Chloe Moon  

A Crown of Windflowers

Duration: 07' 00" Year: 1981
for unaccompanied treble voices

David Farquhar  

ABC

Duration: 07' 00" Year: 1985
for SATB choir

Maarire Goodall  

Aramoana - Pathway to the Sea

Duration: 08' 00"
for piano

Eve de Castro-Robinson  

Chaos of Delight I

Duration: 08' 00" Year: 1995
for bass clarinet

  • Programme Note

    The first in my Chaos of Delight series of pieces based on birdsong, Chaos of Delight I requires the bass clarinettiest to trill, click, screech, book and roll in a virtuosic display of avian sonorities, using the full range of the instrument, from the boom of the kakapo to the shriek of the the morepork and the bleat of the bush falcon. All these can be heard amongst sounds which exploit the unique characteristics of the bass clarinet, such as its uncannily high register, slap tonguing and multiphonics.

    The title is taken from a passage in A Field Guide to the Birds of New Zealand by Falla, Gibson and Turbott: “…there are still many quiet places far from the madding crowd, where the mind can become, in Darwin’s phrase, ‘a chaos of delight’ at the abundance and variety of birds which pass before the eye or perplex the ear.”

  • Availability

Eve de Castro-Robinson  

Chaos of Delight II

Duration: 08' 00" Year: 1996
for soprano (with two metal thumb clickers)

Eve de Castro-Robinson  

Chaos of Delight III

Duration: 06' 00" Year: 1998
for women's voices

Bryony Jagger  

Colours

Duration: 07' 00" Year: 1992
song for voice and orchestra

Alex Taylor  

deepwalker

Duration: 09' 30" Year: 2011
work for vocalising clarinetist

  • Instrumentation
    solo clarinet
  • Programme Note

    In many ways this is a companion piece to an earlier work, Vivid for solo trumpet, which also sets a powerful, sexually charged poem by Will Christie. But where Vivid is very often overtly violent and forceful in its gestures, deepwalker is mostly much subtler, almost passive-aggressive in outlook. The opening lines of the poem – “the day is a drum that connects these vocal loops with grey traffic circles bridge after bridge” – are mirrored in the cyclical, sometimes elliptical form of the work, loops and circles that play between registers of the clarinet. Sexual tension and aggression bubble away in the background, periodically rupturing the musical surface with piercing, angular outbursts, sometimes in parallel with the rather tender, fluid lines of the low register, and with the spoken text itself. This violent interplay creates a kind of disordered internal conversation, a bizarre hermetic character opening and shutting her windows; a clarinet of many voices.

    Warning: contains coarse language

  • Availability

Dorothy Freed  

Deserted Beach

Duration: 08' 00" Year: 1993
for soprano and string quintet