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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

Felicity Williams  

Courage

Duration: 20' 00" Year: 1989
Dance drama

Felicity Williams  

Hemi Dances

Duration: 15' 00" Year: 1988
dance drama for voice, assorted classroom percussion, piano and synthesiser

John Drummond  

La Vie En France

 Year: 1986
Theme and incidental music for educational video

Dorothy Buchanan  

Margaret Mahy Storybook Theatre

 Year: 1983
26 songs for TVNZ series

  • Instrumentation
    For vocals, piano, bassoon, cello, flute/piccolo, percussion

Dorothy Buchanan  

Mary Magdalene and the Birds

Duration: 15' 00" Year: 1989
a song cycle for mezzo and clarinet

Gerard Crotty  

Metamorphosis

 Year: 1986
Music for dance

  • Instrumentation
    For violin, cello, double bass, flute, percussion, piano, voice

Warwick Blair  

Natyam

 Year: 1985, r. 2006
For tenor, flute, cello, piano and percussion

Kit Powell  

Nothing but Switzerland and Lemonade

Duration: 12' 00" Year: 1981
for soprano and wind trio

Gillian Whitehead  

Requiem

Duration: 20' 00" Year: 1981
for mezzo soprano and organ

  • Programme Note

    Undoubtedly, this is one of Whitehead’s more unusual collaborations. The work, intended for five dancers and organ, with soprano added at the composer’s request, was to have been performed in five cathedrals around Britain during the summer of 1982. Due to the cancellation of the dance component however, the work received performance in only one of the cathedrals – Carlisle – but was later presented with a solo dancer, Bronwyn Judge, at the 1987 Sonic Circus in Wellington. The singer on that occasion was Glenys Taylor and the organist Douglas Mews. The composer initially delayed beginning work on the piece, since her sister was expecting a baby, and a Requiem did not seem an appropriate preoccupation. The successful birth was however followed by two close-family deaths and it was these which provided the composer with the emotional impetus to proceed with the composition. (Programme note by Emma Carle and Jack Body).

  • Availability