2018 Educational Resources

PROMETHEAN EDITIONS 

Educational Resources 2018 

2018 NCEA Resources: Scores and Recordings 

Published scores from New Zealand composers Gareth Farr, Helen Fisher, and John Psathas 

Teacher Scores to accompany NCEA Resources at discounted rates (up to 50% reduction) 

Student workbook scores designed for student use and priced accordingly 

Audio Recordings available on CD and download 

Published scores for music-making in the classroom 

Published scores at exclusive discounted rates (up to 50% reduction) 

Instrumental music for the accomplished young performer - piano, clarinet, saxophone 

Chamber music performance sets for your student chamber ensembles 

Band music performance sets for your school brass band 

Build your collection of essential New Zealand music 

Newly-edited and published study scores from Peter Adams, Edwin Carr, Eve de Castro-Robinson, 

Chris Cree Brown, Graeme Downes, John Elmsly, Gareth Farr, Helen Fisher, Leonie Holmes, 

Douglas Lilburn, Martin Lodge, John Psathas, and Anthony Ritchie 

REGISTER YOUR SCHOOL ACCOUNT AND SAVE 30% ON LIST PRICES OF SELECTED 

PRODUCTS BEFORE 31 DECEMBER 2017. 

ONLINE ORDERS FROM REGISTERED SCHOOL EMAIL ADDRESSES ONLY. 

Promethean Editions - Education Resources November 2017 - All prices inclusive of GST 1

Study New Zealand Composers with essential published 

scores and exclusive discounts for teachers 

Gareth Farr is one of New Zealand’s most exciting and colourful composers of contemporary classical music. His 

work is vibrant, energetic, percussive and extremely accessible – students love it! Feature Gallipoli this year with 

Farr’s Onslaught for brass band and percussion, newly published in 2015 as a study score, conductor’s score and 

complete set of 30 performance parts. Another recent publication of Farr’s is Balinese Pieces, a set of three 

piano works influenced by gamelan music of Indonesia – exciting music that advanced piano students are sure 

to enjoy. We also have scores available for three of Farr’s essential works – Sea Gongs, Kembang Suling and 

Volume Pig. 

Olympic composer John Psathas’ music is unique in fusing elements of rock and jazz along with the music of his 

Greek heritage into a new contemporary classical style. Understand Psathas’s latest music in context by studying 

the published scores for his three ground-breaking concerti – Omnifenix, Three Psalms and View from Olympus – 

and chamber works Drum Dances and Abhisheka. 

Another NCEA favourite is Pounamu by Helen Fisher – steeped in the sounds of European and Maori musical 

traditions, this bi-cultural mixture has brought new experiences to performers and audiences worldwide. We 

have available the published score and performance parts of Pounamu. 

New music for Brass Band and Percussion 

— Gareth Farr’s The Nor’west Arch and 

Onslaught 


GARETH FARR 

The Nor’West Arch 

Brass Band 

The Nor’west Arch was commissioned by the Christchurch Arts Festival as a 

memorial to the 181 people who died in the February 2011 Christchurch 

earthquake. It is a highly emotive work with its combination of sustained chords 

and simple melodic lines that pass between single instruments throughout the 

band. The work can be enhanced with poignant text about the earthquake that 

can be spoken at specific points. Farr’s work can serve as a reflective highlight to 

any brass band programme. 

In 2004, the New Zealand Army Band commissioned Gareth Farr to write 

Onslaught to mark the 90th anniversary of the Battle of Gallipoli. As many New 

Zealanders know, 3000 New Zealand soldiers were part of an amphibious Allied 

invasion that took place at what is now known as Anzac Cove, on Turkey’s Gallipoli 

Peninsula, on 25 April 1915. Under heavy fire they made their way up the beach in 

an attempt to divert and prevent Turkish forces from strengthening their defence 

against the main Allied landing further south at Cape Helles. Among those that 

fought were the members of four New Zealand army bands. By the end of the 

fighting, the casualty rate was such that there was only one band’s worth of 

members left alive. Onslaught communicates on a strongly physical and visceral 

level in its portrayal of the intensity and chaos of battle. 


GARETH FARR 

Onslaught 

Brass Band 


Douglas Lilburn 

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occupies a preeminent 

position 

in New Zealand 

music, with a 

legacy extending 

well beyond his 

compositional 

output. As a 

composer, teacher 

and mentor 

he presided in 

innumerable ways over the artistic growth of New 

Zealand from 1940 onwards. From the early works 

redolent of the influence of Sibelius and Vaughan 

Williams, to the electro-acoustic pieces of his 

later years, his works have been instrumental in 

establishing a genuine vernacular in New Zealand 

classical music. 

For Lilburn’s only full-length choral work, Prodigal 

Country, the composer set three poems to 

music – Robin Hyde’s Journey from New Zealand, 

Allen Curnow’s New Zealand City and Walt 

Whitman’s Song of Myself. Across a single, winding 

movement, Prodigal Country conjures nostalgia 

and strangeness through its sung text and drifting 

melodic contours. 

ISMN 979-0-67452-205-2 

Printed in New Zealand • PEL22 • PNY PREPEL22 

Discover the new editions of Douglas Lilburn’s music 

Douglas Lilburn occupies a pre-eminent position in New Zealand music, with a legacy 

extending well beyond his compositional output. As a composer, teacher and mentor 

he presided in innumerable ways over the artistic growth of New Zealand from 1940 

onwards. From the early works redolent of the influence of Sibelius and Vaughan 

Williams, to the electro-acoustic pieces of his later years, his works have been 

instrumental in establishing a genuine vernacular in New Zealand classical music. 

Promethean Editions published five new editions in celebration of the centenary of 

Lilburn’s birth in 2015. This ‘centenary’ collection draws on the expertise of Dr Robert 

Hoskins, an Associate Professor at the New Zealand School of Music (retired), and Rod 

Biss, who as Production Director of Faber Music and then Price Milburn, was 

instrumental in first publishing Lilburn’s music in the 1970s. The editors, previous collaborators on the Douglas 

Lilburn Complete Piano Edition, have carefully considered and clarified Lilburn’s manuscripts and early 

publications in preparing these volumes as both scholarly and practical editions for performance. 

A Song of Islands for Orchestra (PEL23S) 

A Song of Islands (1946) is an essential work to study in the history of New Zealand 

orchestral music. This early work is a fine example of how Lilburn directly intended to 

capture the essence of New Zealand as a whole. Central to this work is a chorale-like theme 

that develops through an arch-like form. This critical edition is the first computer-engraved 

publication of the work. 


A Song of Islands 

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DOUGLAS LILBURN Drysdale Overture PEL21 

Douglas LilburN 

Drysdale Overture 

Drysdale Overture for Orchestra (PEL21S) 

Lilburn was one of many New Zealand composers who travelled to 

England to continue their studies. He studied under the aegis of Ralph Vaughan Williams 

at the Royal College of Music in London. During his time in London he wrote his first major 

orchestral work, Drysdale Overture (1937). This remains as one of Lilburn’s quintessential 

works with its nostalgic portrayal of the New Zealand landscape. The work won first prize 

at the New Zealand National Centennial Competition in 1940 and more recently it has 

become established as a staple of orchestral repertoire with regular performances and 

recordings presented by the New Zealand Symphony Orchestra. Drysdale Overture is now 

available as a newly published study score, released in celebration of the centenary of Lilburn’s birth in 1915. 

Prodigal Country for Baritone, Chorus (SATB) and Orchestra (PEL22S) 


Centenary Edition 

Prodigal Country 

For Lilburn’s only full-length choral work, Prodigal Country, the composer set three poems 

to music – Robin Hyde’s Journey from New Zealand, Allen Curnow’s New Zealand City and 

Walt Whitman’s Song of Myself. Across a single, winding movement, Prodigal Country 

conjures nostalgia and strangeness through its sung text and drifting melodic contours. 

The imagery of the river dominates the work, which, for Lilburn, seemed to represent 

freedom, while elsewhere Hyde’s evocative landscape is rugged and harsh, Curnow’s text 

emphasises the hesitancy and unease reminiscent of the Depression and Whitman’s 

romanticism is celebrated through Lilburn’s lyrical, melodic treatment. 

DOUGLAS LILBURN Prodigal Country PEL22 


Prodigal Country 


Symphony No.1 

Symphony No.1 for Orchestra (PEL24S) 

Lilburn’s Symphony No.1 (1949) is an essential work to study in the history of New Zealand 

orchestral music. Premiered in 1951 by the National Orchestra (now the New Zealand 

Symphony Orchestra), it was later established as a staple of orchestral repertoire with regular 

performances and recordings. This critical edition is the first computer-engraved publication of 

the work. 


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Lilburn Complete Piano Edition: Volumes 1–6 

Selected pieces in each of the six volumes are suitable for younger players, and all are ideal as featured 

works in recitals. 

Piano Music Vol.1 (PEL01) 


This first volume comprises 

Lilburn’s highly individual 

Sonata (1949) and a collection 

of some 20 sketches, studies 

and personal tributes first 

published as Occasional Pieces 

in 1975. 

VOLUME 5 

Works for String Orchestra 


Six Short Pieces (1962-63), his early Sonata for Piano 

in A minor (1939) and the miniature Moths and 

Candles (1948). 


Lilburn’s Nine Short Pieces for Piano (1965-66), Three 

Sea Changes (1946-81), ‘Seven Short 

Pieces’ (1965-66), ‘Short Piece’ (1965), Prelude 

(1948), and Sonata (1956). 

Lilburn’s Sonatina No.1 (1946), ‘Short Piece’ (1965), 

Prelude (1948), ‘Untitled Piece’ (1965), Untitled 

Piece’ (1981), and A Musical Offering (1941). 


Lilburn’s Chaconne (1946), ‘Six 

Pieces’ (1964), Three Preludes 

(1943), Fred’s Birthday (1965), 

and Rondino for a Birthday (c. 

1943). 

Douglas LilburN Piano Music 5 

VOLUME 5 

Works for String Orchestra 


The sixth volume comprises 

Lilburn’s Sonata for Piano in F Sharp Minor (1939), 

‘Poco Lento’ (1960), The Young Pine Tree (1945), 

Hommage à D.A.F. (c.1965), Theme from ‘Variations 

on a Theme by Douglas Lilburn’ (1948), and 

‘Christmas 1942’ (1942). 

Piano Music from Gareth Farr 

Gareth Farr: Gem for Piano (PE136) 

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Gem was commissioned by pianist Nicola Melville, in memory of her teacher Judith Clark. This mysterious work 

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is a contemplative rubato journey, predominantly along the black keys of the piano. Short flourishes of notes 

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decorating the work’s searching theme. Accelerated ascending runs lead to a climax of tumbling high register 

figures in contrary motion with the left hand. 

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Gareth Farr: Balinese Pieces for Piano (PE128) 

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Balinese Pieces (1996-2003) is a set of three piano works influenced by gamelan music of Indonesia and is 

47 

suitable for advanced school students of approximately Grade VIII and above. This set includes Sepuluh Jari (‘ten 

fingers’), ! Y Y Tentang O C 

Cara 

C C Gamelan (‘on the technique of gamelan’), and Jangan Lupa (‘don’t forget’). Farr perfectly 

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captures the exciting rhythms and beautiful sonorities of gamelan music and combines it with sounds and 

. . . . . . . . . . . . . . . . . . . . 

textures reminiscent of French impressionism. His writing for piano in these pieces is exciting, with fast melodic 

passages and complex rhythms. The three pieces can be performed together as a set or separately as standalone 

works. Balinese Pieces is sure to be a 

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Gareth Farr: Meditation 

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for Alto Sax and Piano (PE125) 

Peter Adams: Breath of Souls (UME11) 

This set of five waiata (songs or chants in Maori 

culture) draws inspiration from the natural and 

spiritual worlds described in the poem Mercy by 

Greek-Armenian 55 

poet Olga Broumas. Like the poem, 

Adams’ work similarly explores themes of love, loss 

and 

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transcendence. The elegant arching structures 

and recurring . motives . derived . from . a 12-tone . row . 

make it a fascinating work for solo flute. 

Larry Pruden: Flight of the Albatross for Violin 

and Piano (PEP12) 

Larry Pruden’s Flight of the Albatross (1980) is an 

excellent 58 work for secondary students and above 

looking to perform lyrical contemporary music. It was 

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originally written as soundtrack music for a nature 

documentary and was later arranged especially for 

performance with young listeners in mind. 

John Psathas: Fragment 

for Vibraphone and Piano (PE076) 

for Vibraphone and Marimba (PE089) 

Fragment (2001) was originally written as a tribute to 

the composer’s first piano teacher on the occasion of 

his retirement. A gentle and delicate work, its 

atmospheric textures recall the second movement of 

View from Olympus, the double concerto for 

percussion and piano. 

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PE128 – 30 

for Viola and Piano (PE126) 

for Clarinet and Piano (PE127) 

Meditation (2004) is an ideal recital work for 

advanced C C C C C C C 

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school C C C C 

students C C C C C C C 

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looking to perform contemporary music. It was 

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originally . . written for . viola and . piano . and later . was 

adapted for both alto saxophone and clarinet. The 

work was written to highlight the C lyrical C C qualities of 

the solo instrument with a piano accompaniment. As 

such, Meditation provides an opportunity for the 

soloist to shine through individual expression, making 

it perfect for solo recitals and competitions. 

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Farr: Three Little Pieces for Eve for Percussion 

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and Piano (PE095) 

“Serious fun” is the best way to describe this lively 

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of three contrasting pieces. 

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Gareth Farr wrote Three Pieces for Eve (2006) for the 

occasion of a friend’s birthday. It showcases Farr’s 

comic wit and clever writing. The percussionist uses 

household objects including bottles, flowerpots, 

mixing bowls and a triangle. 

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Anthony Ritchie: Meditation for Violin and 

Piano (UME03) 

Meditation (2008) is inspired by traditional Chinese 

folk music and poetry, and demonstrates Ritchie’s 

ongoing interest in exploring folk music traditions as 

a basis for creating new works. The violin part 

exploits expressive glissandi and high harmonics that 

recall the sound of the erhu, a bowed Chinese string 

instrument. 

Douglas Lilburn: Sings Harry for Baritone and 

Piano (PEL25) 

Lilburn’s Sings Harry (1953/1954) for baritone and 

piano is a setting of six poems by New Zealand poet 

Denis Glover. With simple yet precise word setting, 

Lilburn created spare and direct tunes with 

accompaniments that vividly evoke the rural New 

Zealand landscape and the characters that inhabited 

Glover’s poems. Also included are two previously 

unpublished settings by Lilburn of Glover’s poetry, 

‘Holiday Piece’ for medium voice and piano and ‘The 

Magpies’ for mixed voices. 

Gareth Farr: Waipoua for Clarinet and Piano 

(PE021) 

Waipoua is an excellent work for advanced 

secondary clarinet students who want to perform a 

lyrical solo work with piano accompaniment. Inspired 

by the composer’s visit to a state forest park, the 

work has a meditative quality that allows the 

performer to explore individual expression. 

Selected New Zealand chamber music for study 

Leonie Holmes: A Tedious Brief Scene: Bottom’s 

Dance (UME05S) 

This work is a fine example of Holmes’ work from her 

career as a composer and educator in New Zealand 

for over 25 years. Holmes was inspired to depict the 

character Bottom from Shakespeare’s A Midsummer 

Night’s Dream in writing this lighthearted work. It is 

highly engaging and energetic with elements of 

minimalist techniques of layered melodic ostinati, 

and jazz-influenced and non-tonal harmony. 

Graeme Downes: Introduction and Scherzo 

(UME09) 

This enigmatic and often playful work for harp 

incorporates scalar material reminiscent of the Blues, 

with unpredictable shocks of pedal glissandi 

peppering the Introduction with a chromatic motif. 

The Scherzo that follows presents a more animated 

working out of the Introduction’s materials, with 

polyrhythmic passages consisting of triplets grouped 

in fives, in addition to other rhythmic manifestations 

of the number five. 

Peter Adams: Look to the Far Horizon (UME16S) 

Look to the Far Horizon sees Adams attempt to 

capture some of the atmosphere and character of 

the skies and seascapes surrounding his home city of 

Dunedin, New Zealand, and the nearby Otago 

peninsula. Gentle clusters evoke the typically 

bleached skies and clouds of the Otago environment, 

while a simple modal tune introduces the building 

block from which everything is derived, its short 

note-long note rhythm sometimes transforming into 

a clipped “scotch snap”. 

Edwin Carr: Sonata for Solo Violin (UME10) 

The Sonata for Solo Violin (1969) demonstrates the 

consummate craftsmanship and refinement in Carr’s 

writing. Central to this work is an exploration of the 

melodic and expressive possibilities of the violin 

within the framework of a 12-tone system. The score 

also calls for extreme dynamic and registral changes, 

which adds to its virtuosic and challenging appeal as 

a highly expressive work. It is also intriguing to study 

as a representative 12-tone work in considering the 

reception of European modernism within New 

Zealand composition during the late 1960s. 

Anthony Ritchie: String Quartet No.2 (UME13S) 

Ritchie’s second string quartet is an impressive 

synthesis of sophistication and emotion. The first 

movement is dominated by energetic compound 

meters and rhythms, with motivic ideas derived from 

a magic square, while the second movement’s quiet 

rocking motion is pervaded by minor thirds, a 

common interval in children’s songs. 

Chris Cree Brown: Three Pieces for String 

Quartet (UME08S) 

These diverse works demonstrate a meticulous 

exploration of timbre and microtonality. It is inspired 

by the composer’s reflections on puberty and the 

contrast between child and adult worlds. This 

emerges in various ways, such as microtonal 


flourishes repeated as an obsession and the use of 

scordatura and harmonics to convey a sense of 

innocence, making for a fascinating collection. Chris 

Cree Brown is an Associate Professor of Music at the 

University of Canterbury, Christchurch, New Zealand. 

 

Martin Lodge: Works for Cello Solo and Duo 

(UME06) 

This set of four contrasting works, including three for 

cello duo and one for solo cello, exploits the wide 

registral and expressive qualities of the instrument to 

great effect. They also pay homage to senior New 

Zealand composers David Farquhar (1928-2007) and 

Douglas Lilburn (1915-2001) while showcasing the 

breadth of writing for cello in New Zealand. 

Orchestral Study Scores 

John Elmsly: Pacific Hockets (UME04S) 

This work stands out as one of Elmsly’s most 

important large-scale works from his career of over 

35 years. It contains a number of intriguing 

compositional devices that feature in much of his 

output. In this work Elmsly combines hocketing with 

minimalist additive and reductive processes, which 

creates a wide range of orchestral timbre. It is a 

fascinating work to study for the way in which he 

uses repetition and a variety of evolving rhythmic 

frameworks to develop the music in each of the 

three contrasting movements. 

Anthony Ritchie: Revelations (UME07S) 

Revelations (1998) is a journey through states of high 

tension and levity, influenced by Ritchie’s meditation 

on what happens to us after we die, and the neardeath 

experiences that suggest an answer to this 

question. After opening with an extended passage of 

dark drama led by writhing contours in the string 

section, the work is released into lighter material, 

eventually incorporating fanfare-like statements. 

Gareth Farr: Ruaumoko (PE041S) 

Based on the story of the Maori god of 

earthquakes, Ruaumoko sees Farr channeling the 

elemental forces of nature across four movements 

based on the four seasons. Tender woodwind playing 

is followed by perilous swirling contours and 

booming percussion, while elsewhere chiming 

pitched percussion, surging brass drones and 

interlocking choirs propel this dynamic work towards 

a triumphant finale. 

Anthony Ritchie: Symphony No.1 

‘Boum’ (UME14S) 

Boum is named after a mysterious echo heard by 

characters in E.M. Forster’s novel A Passage to India. 

The echo comes to symbolise the mysteries of life 

and death, and was a starting point to a general 

theme of existentialism and human struggle that 

pervades Ritchie’s symphony. An eclectic range of 

influences can be heard across Boum’s four 

movements. 

Anthony Ritchie: Symphony No.3 (UME01S) 

The driving force and subject of Anthony Ritchie’s 

third symphony is the idea of being human, which 

encompasses the full range of highs and lows of 

extreme emotions. This work reveals Ritchie’s highly 

personal and compelling writing, and extracts the 

inner world of human emotion as a heightened 

experience through the orchestra. 

Eve de Castro-Robinson: These arms to hold you 

(UME12S) 

Commissioned by the Royal Plunket Society, These 

arms to hold you channels both tender adoration and 

the excitement of a new arrival. The children’s choir 

maintains an expectant energy in this work with 

handclaps, overlapping chants, glissandi, ecstatic 

yelps and lullabies. Esteemed New Zealand poet Bill 

Manhire provided text for the choir, with excerpts 

taken from actual Plunket books heard alongside 

Manhire’s own prose. Castanets and temple blocks 

are made curious and playful in this setting as they 

provide a bubbling rhythmic drive for the orchestra. 


Student Workbook scores 

Replaceable workbook scores for students to annotate

2018 Educational Resources

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