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Lyell Cresswell  

Cello Concerto

Duration: 30' 00" Year: 1984
for cello and orchestra

  • Instrumentation
    3+pc,3+ca,3+bs-cl,3+c-bn; 4331;3perc,timp,hp;strs and solo cello.
  • Programme Note

    An essay in tension between soloist and orchestra. In the first movement long cello solos are contrasted with outbursts from the orchestra; in the second movement cello and orchestra merge – the cello sound coloured by various doublings; and the last movement is a moto perpetuo again contrasting soloist with orchestra. Premiered by cellist Alexander Baillie, conducted by Matthias Bamert and the Scottish National Orchestra.

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Dorothy Buchanan  

Greenleaf

Duration: 43' 00" Year: 1984
opera for 8 singers and 5 players

Susan Frykberg  

Machinewoman

Duration: 45' 00" Year: 1984
electronic music theatre

John Cousins  

Membrane

Duration: 7h 00' 00" Year: 1984
performance installation

Tony Baker  

Scandanavian Suite

Duration: 30' 00" Year: 1984
for solo tenor sax and other instruments

Philip Norman  

Terrible Tom

Duration: 55' 00" Year: 1984, r. 1985
music for a ballet

  • Instrumentation
    flute/piccolo, clarinet/bass clarinet/alto saxophone, violin, cello, piano, percussion

Dorothy Buchanan  

The Adventures Of Algy

Duration: 1h 07' 00" Year: 1984
incidental music for a silent film

Gillian Whitehead  

The King of the other Country

Duration: 1h 30' 00" Year: 1984
chamber opera

Douglas Mews  

The Kiss

Duration: 1h 10' 00" Year: 1984
a biblical opera for 16 characters

  • Instrumentation
    harp, organ, celeste, flute, oboe, trumpet, cello, bass, percussion.

Tony Ryan  

The Musicians of Bremen

Duration: 1h 00' 00" Year: 1984
comic opera in one act

  • Instrumentation
    soprano, 2 mezzos, tenor, baritone; orch: 1111;1111;1perc; strs (11111)
  • Programme Note

    A comic opera in one act which was professionally staged in 1996.

    It played to enthusiastic audiences and reviewers, including Timothy Jones who commented that it was: “lean, witty and self-contained – wonderfully rhythmic, but spiky and astringent as the need arose”. Ian Dando’s review concluded: “Honest music with its sleeves rolled up”, while John Pattinson’s noted: “His orchestral resourcefulness is considerable and The Musicians of Bremen teems with interesting and colourful ideas all of which seemed to work like a charm. Ryan has developed a happy knack of being able to write effectively for voices or instruments”. Elric Hooper’s review included the following: “Christchurch … contains some of NZ’s best kept artistic secrets. One of them is Tony Ryan.”