SOUNZ

John Drummond

Voices

Duration: 04' 00" Year: 1966
for Soprano, Tenor and Harpsichord

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Lucy Mulgan

voices of exile

Duration: 07' 00"
for soprano, mezzo-soprano and alto

Programme Note

voices of exile is a semi-autobiographical piece by New Zealand-born composer Lucy Mulgan. The song explores the physical and emotional journey experienced by pioneer women, such as the composer’s great-great grandmother who left the UK for New Zealand during colonisation, and the composers own experiences, coming back to live in the home of her ancestors. Contrasts between the UK and New Zealand; links between past and present generations; and the differences and similarities between journeys of exile, whether chosen or enforced, are all touched on in the piece.

voices of exile is predominantly a simple folk song underpinned by a lilting accompaniment. Each of the tree verses is introduced by the gradual merging of broken down words and phrases. A brief climax appears before the final verse.

voices of exile was commissioned by juice vocal ensemble with funding from Creative New Zealand Toi Aotearoa.
Availability
- Mulgan: voices of exile; computer-set
  
  Full score | Hardcopy - computer set
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- Works by Lucy Mulgan
  
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Juliet Palmer

W is for

for clarinet, trumpet, drum set, keyboard, violin, double bass and 2 sopranos

Score Sample

Instrumentation
clarinet in B flat; trumpet in C; drum-set - bass drum, snare drum, hi hat, 3 tomtoms, 2 muted cowbells, woodblock
Programme Note

Recently my curiosity was sparked as to the origins of Maori action songs – a hybrid form combining traditional movements, borrowed Western melodies and Maori lyrics. It seems that I owe my encounter with them to an enthusiastic physical education specialist in the late 1940’s who introduced them into the public school system along with Maori children’s games, noting that they were “exceedingly good for the body of the pakeha” (non-Maori). W is for is my response to that early time spent dancing and singing in a language which we were never taught to speak. The text is an excerpt from a Maori-English dictionary. It begins at waka (canoe) and passes through wakainga (true home, far distant home) and warawara (yearning), arriving finally at wareware – forget, forgotten, forgetful. The final line comes from the Belgian singer Jacques Brel’s ballad “On n’oublie rien” – you forget nothing.

Juliet Palmer
Availability
- Palmer: W is for; computer set
  
  Parts - written | Pdf - computer set
  
  $22.50
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- Palmer: W is for; computer set
  
  Full score | Pdf - computer set
  
  $15.00
  - Quantity:
- Palmer: W is for; computer-set
  
  Full score | Hardcopy - computer set
  
  $15.00
  - Quantity:
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- Palmer, Juliet Kiri: Selected Works II
  
  CD
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- Juliet Kiri Palmer: selected works
  
  CD
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Tecwyn Evans

Waikareiti

Duration: 01' 00" Year: 1990
For vocal octet (SSAATTBB)

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Willow Macky

Waitemata Harbour

Duration: 02' 00" Year: 1957
arranged by Dorothea Franchi for two-part voices and piano with optional guitar

Programme Note

This was Willow’s first New Zealand folksong, composed in 1957. It was written because she couldn’t find any New Zealand folksongs at the time, so she decided to write one. Celebrating what Willow liked best about Auckland (pre harbour bridge days), this song led to many other New Zealand folksongs. It was recorded by The Mariners on Kiwi EP The Four Cities and Two Gold Towns in 1961.
Availability
- Macky: Waitemata Harbour; facsimile
  
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