Sub Navigation

Search Music:

Search for music by typing a word or phrase in the box below or by selecting one or more categories from the list on the side.

Reset

Or search for products by selecting an option below, and typing a word or phrase in the box above

  • Scores
  • CDs and DVDs
  • Downloads
  • Education Resources

Juliet Palmer  

Blood Shower

Duration: 10' 00" Year: 1998, r. 1999
music theatre for percussion duo

Score Sample
Add to Wishlist

Full information

Victoria Kelly  

Closer

Duration: 11' 00" Year: 2003
music for short film

Add to Wishlist

Full information

Douglas Lilburn  

Dance Sequence for Expo '70

Duration: 11' 00" Year: 1970
for tape (sounds of NZ birdsong)

Video Sample
Audio Sample
Add to Wishlist

Full information

Claire Scholes  

Epicene Women

Duration: 12' 00" Year: 2007
for soprano, mezzo-soprano, tenor, baritone, bass, plastorgans and plastic cups

Score Sample
  • Programme Note

    I became inspired to write this piece by a rather disparate selection of influences: the Golden Years permanent exhibit at the Te Papa Tongarewa museum in Wellington, Giacometti’s Women of Venice sculptures, and a photocopy of an old poster from the early 1900s.

    I had been aware of Giacometti’s striking sculptures of emaciated figures, but hadn’t seen them in the flesh until the beginning of this year at an exhibition in Christchurch. I was particularly enamoured with Women of Venice, an apparently loosely arranged group of stationary female figures all facing straight ahead in a mesmerising and somewhat disarming display of trance-like fixed focus. I imagined a similar group of performers stationed about the stage like petrified soldiers risen from a swamp, who then come to life at random and begin to channel voices from their pasts. This idea of channelling voices was also inspired by the Golden Years exhibit, where museum patrons are lead into an old junk shop that has closed down for the day, only to find items in the shop seemingly coming to life in a display of a potted history of New Zealand.

    I then came across a copy of Henry Wright’s infamous poster from the early 1900s cautioning women to abandon exercising any political assertions whatsoever. The poster read:

    Notice to EPICENE WOMEN
    Electioneering Women are requested not to call here

    They are recommended to go home, to look after their children, cook their husbands’ dinners, empty the slops, and generally attend to the domestic affairs for which nature intended them.

    By taking this advice they will gain the respect of all right-minded people – an end not to be attained by unsexing themselves and meddling in masculine concerns of which they are profoundly ignorant.

    Henry Wright,
    103 Mein Street,
    Wellington

    I found the poster amusing in its ridiculousness, and played with the words so as to make nonsense of them, or to blatantly give them a feminist angle. Here is an example of one of the tweaked versions:

    Notice to Sloppy Children
    Affairs of sloppy husbands are requested not to attend Wellington.

    They are recommended to unsex their meddling masculine nature and generally concern themselves in their profoundly ignorant nature.

    By taking this advice they will slop their children’s dinners by unsexing themselves – an end not to be attained by cooking their children or Henry Wright.

    I also used John Cage’s method of ‘reading though’ the text using a mesostic with the words “EPICENE WOMEN”, as he did with James Joyce’s Finnegan’s “Wake” in his Roaratorio: an Irish Circus on Finnegan’s Wake (but using the name JAMES JOYCE).

    Despite my amusement, I was struck by the use of the word “epicene” in the poster. It implied that women who involved themselves in politics must not really be women, renouncing their sexuality so as to cause infinite trouble with all the devilish potency of a coven of Lady Macbeths. Similar attitudes still exist today, particularly amongst women, and there is still an apparent suspicion of ‘tomboys’ as well as a tug of war between traditionalism and feminism within individuals. It is this ironic fact that interests me the most – that, despite the extraordinary amounts of courage and hard work from women of the past to be seen as equals with men, many women today unwittingly foster oppression by adhering to gender steriotypes.

    In this piece I’ve played with aspects of bitchiness, misogyny, sadness, political fieriness, the natural unaffectedness of growing up rurally, the silliness yet appeal of TV commercials, the comfort of crackly old radio songs, and the determination and single-mindedness of women intent on having their voices heard. I’ve also been interested in the potential for double meanings by setting the texts in certain ways, an example being Helen Clarke’s statement about the struggles of her early parliamentary days being sung by the baritone voice. I consider this a rejection of the notion that all people must tidily fit into the category of male or female and therefore must at all times show undeniable evidence either way.

    Claire Scholes

  • Availability
Add to Wishlist

Full information

David Farquhar  

Fives

Duration: 13' 00" Year: 1971
for 5 dancers and 5 instruments

Score Sample
Add to Wishlist

Full information

Dorothy Buchanan  

Frances of Fielding

Duration: 10' 00" Year: 1998
piano music for silent film

Add to Wishlist

Full information

Felicity Williams  

Herbert and Harry

Duration: 12' 00" Year: 1990
A dance drama

Add to Wishlist

Full information

Christopher Small  

High Country Stockman

Duration: 10' 00" Year: 1952
orchestral music for film

Add to Wishlist

Full information

Jack Body  

Love Sonnets of Michelangelo

Duration: 13' 00" Year: 1982
for soprano, mezzo-soprano, voice, and a dancer

Score Sample
Video Sample
Audio Sample
  • Programme Note

    The Love Sonnets of Michelangelo I wrote for Michael Parmenter, with whom I worked on a programme entitled Between Two Fires (also included was a dance-theatre work I created collaboratively with Michael, using his voice as well as his body, with imagery extracted from the diaries of Franz Kafka.) At the time I was focused on different styles of melody, having just completed my Five Melodies for Piano. Inspired by the lovely voices of some of the then current students in our School of Music, I felt that women’s voices gave the expressive quality I wanted, as well as providing a useful ‘cover’ for the overtly homo-erotic tenor of the texts. The original production used film, shot by my good friend Bayley Watson, showed the dancer’s prostrate figure, swathed in bandages. As the performance unfolded the cloth was gradually cut and pealed back by hands belonging to an old man whose face we never saw, the intended metaphor being of the sculptor cutting away marble to reveal the male form that he sensed already existed within the stone.

    The work has since had other performances that have discarded the theatrical elements, most successfully when each setting is prefaced by a reading of the poem in translation.

    These settings of some of Michelangelo Buonarroti’s most personal sonnets articulate the anguish of love and desire, as well as the despair of old age. The musical style combines the theatricality of Italian bel canto with the direct expressivity of folksong.

  • Availability
Add to Wishlist

Full information

Kit Powell  

Nothing but Switzerland and Lemonade

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

Score Sample
Add to Wishlist

Full information