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Barry Anderson  

Arc

 Year: 1987
for string quartet, bass clarinet and tapes

Leonie Holmes  

Blues Piece

Duration: 01' 00" Year: 1989
for two treble instruments and piano

John Rimmer  

Coils

 Year: 1989
improvised work for bass clarinet and marimba

Peter Scholes (composer)  

Dance and Lament

Duration: 08' 00" Year: 1981
for early instruments

Jonathan Besser  

Dance of the Zestniks

Duration: 07' 00" Year: 1988
for clarinet, 2 violins, percusssion, piano, double bass

Leonie Holmes  

Flowing

Duration: 01' 00" Year: 1989
for two treble instruments and piano

Dorothy Buchanan  

Four Hillmorton Dances

Duration: 08' 00" Year: 1982
for piano, violin and cello

Eric Biddington  

Music for Friends

Duration: 12' 00" Year: 1987, r. 2002
a collection of miniatures for violin, cello and piano

Gillian Whitehead  

Napier's Bones

Duration: 35' 00" Year: 1989
for 24 percussionists and improvising jazz piano

  • Instrumentation
    also in a version for 6 perc and improvising piano
  • Programme Note

    For improvising piano and percussion, Napier’s Bones was written for the outstanding improvising pianist Judy Bailey and exists in two formats – one involving 24 percussionists and the other involving 6 virtuoso percussionists.

    “The New Zealand work which evoked a similarly strong reaction was Gillian Whitehead’s Napier’s Bones whose protracted time-frame of beautifully controlled percussive and pianistic gestures was music from another sphere – an utterly compelling experience of the type I am always looking for in contemporary music.” (de Castro-Robinson).

Gillian Whitehead  

Napier's Bones

Duration: 35' 00" Year: 1989
for 6 virtuoso percussionists and improvising jazz piano

  • Programme Note

    For improvising piano and percussion, Napier’s Bones was written for the outstanding improvising pianist Judy Bailey and exists in two formats – one involving 24 percussionists and the other involving 6 virtuoso percussionists.

    “The New Zealand work which evoked a similarly strong reaction was Gillian Whitehead’s Napier’s Bones whose protracted time-frame of beautifully controlled percussive and pianistic gestures was music from another sphere – an utterly compelling experience of the type I am always looking for in contemporary music.” (de Castro-Robinson).