Your cart

Total
NZD
Shipping and discount codes are added at checkout.

Contributor


Juliet Palmer

Composer

Born: 1967

Biography

New Zealand-Canadian composer Juliet Palmer is known as a “post-modernist with a conscience” (The Listener) whose work “crosses so many genres as to be in a category of its own” (Toronto Star). Juliet is the artistic director of Urbanvessel, a platform for interdisciplinary collaboration. Recent works: Inside Us, audio-video installation and performance featuring Laura Swankey and the VOICE OVER mind Choir (Western Front, Vancouver); burl for pianist Stephen De Pledge (NZ Festival); Morse for Marie-Annick Béliveau and Instruments of Happiness; The Man Who Married Himself, librettist Anna Chatterton & choreographer Hari Krishnan (Toronto Masque Theatre); Vermillion Songs, tenor Simon O'Neill & NZ Trio; Invicta, text by Blackfoot Pikani spoken word artist Zaccheus Jackson (Signal Theatre & NYO Canada); Quarry, soprano Sarah Albu & Continuum (Touching Ground Festival);  Sweat, a cappella opera, writer Anna Chatterton (Bicycle Opera tour; National Sawdust, New York); and Singing River, site-specific performance, Wonscotonach/Don River (Aanmitaagzi, Native Earth, Evergreen and Pan Am Path). Her 2010 boxing opera Voice-Box was acclaimed as a "performance piece that smashes the boundaries between disciplines and leaves them sprawled out on the mat, down for the count” (Musicworks).

Upcoming: a new work for the Detroit Symphony (June 2019); a new work for concert and documentary for NZTrio (2019-20); Medical Studies for Continuum (2020); and a commissioned work for Canada's Hamilton Philharmonic Orchestra with conductor Gemma New (2020). 

Based in Toronto since 1997, Juliet's work has been featured around the world with performances at: New York’s Lincoln Center, London's Southbank Centre, the Huddersfield Contemporary Music Festival, Bath International Festival, Voix Nouvelles France, Italy’s Angelica Festival, Evenings of New Music Bratislava, Musica Ficta Festival Lithuania, NYYD Festival Estonia, The Istanbul Festival, Soundculture Japan, the Adelaide Festival, the New Zealand International Arts Festival, and Canada's World Stage Festival, Koerner Hall, National Arts Centre, Orpheum Theatre, Chan Centre, Crow's Theatre, Theatre Centre, Music Gallery, Sound Symposium, Open Space, Western Front and Ottawa Chamberfest.

Performers of her music include Canada's Aventa, Tapestry New Opera, Continuum, Soundstreams, Ensemble Contemporain de Montréal, Toca Loca, l'Orchestre Métropolitain conducted by Yannick Nézet-Séguin, Bicycle Opera, Penderecki String Quartet, New Music Concerts, Arraymusic, Eve Egoyan, Krisztina Szabó, Patricia O'Callaghan, Trio Fibonacci, the Gryphon Trio, and Motion Ensemble; Les Percussions de Strasbourg; Italy's Fontanamix; London's Piano Circus; Slovakia's Veni Ensemble; California EAR Unit and the Bang on a Can All-Stars; the New Zealand String Quartet, Auckland Philharmonia, Orchestra Wellington and the New Zealand Symphony Orchestra. Juliet was the 2011/12 Creative New Zealand/Jack C. Richards composer-in-residence at the New Zealand School of Music and the 2012 composer-in-residence of Orchestra Wellington. She was an Artist-in-Residence at Sunnybrook Research Institute in 2018, a position funded by the Ontario Arts Council. She is the winner of the Detroit Symphony's Elaine Lebenbom Award and the recipient of a Chalmers Arts Fellowship 2018-19. 

Juliet holds a PhD in composition from Princeton University and an M.Mus in performance, composition and time-based art from Auckland University. Her teachers and mentors include: Louis Andriessen, Jack Body, Phil Dadson, Michael Gordon, Eleanor Hovda, David Lang, Paul Lansky, Annea Lockwood, Meredith Monk, Steve Mackey and Julia Wolfe.

"Palmer’s music can be as sinuous as a torch song or as spiky as Stravinsky."
— William Dart, The Listener
"A fluent and versatile stylist"
— Owen Mortimer, Opera Now (UK)


Composed (75)

5 Cactus Dreams

for voice and chamber ensemble, 5m


A Bridge of Ice

for double bass and tape, 25m


A Guided Viewing

sound installation


American Woman

for soprano and ensemble, 7m


Aquamarine

for piano, 20m


Blood Shower

music theatre for percussion duo, 10m


bone-flower

for chamber quintet, 8m


Bout

for chamber ensemble, 9m


burl

for solo piano, 5m 30s


Buzzard

for orchestra, 12m


Circus Dog

for six pianos, 9m


Citrus

for tape, voice, food blender, electronics, grapefruit and slides, 25m


Clip

for solo piano, 3m


Cocktail

a site-specific collaboration for two percussionists and seven dancers, 18m


Cutwork

for chamber orchestra, 10m


Cypress

for double bass and bass clarinet, 35m


Deep Stew

for electric violin, bass clarinet, Hammond organ and drum kit, 10m


Deep Stew

for alto flute, violin, cello, double bass, bass clarinet, drum kit and Hammond organ, 10m


Dive(rs)

for violin, cello and piano, 3m


Dopey

for SSA choir and piano, 4m


drift, drop

for two ensembles, 16m


Egg & Tongue

for string quartet, 10m


evening rode tenderly

for piccolo/alto flute and accordion, 10m


fire break

for chamber orchestra, 13m


Five

for 2 pianos and percussion, 7m 36s


Flotsam and Jetsam

for mezzo soprano, piano, and dancer, 50m


Foundry

for chamber septet, 11m


frozen tears

for mezzo-soprano and piano


Gone

for a cappella choir, 5m


Helen

for counter-tenor, chorus, violin, cello, percussion and organ, 14m


How it Happened

for narrator and ensemble, 15m


Inland

for violin and CD, 1h 30m


las uvas y el viento

for mezzo soprano and mixed chorus


Love is a Thing

for soprano, harp and harpsichord, 15m


Miasma

for installation and broadcast, 8m


Miasma: veni mix

for mixed chamber quintet, 15m


mindmeat

for piano and percussion, 15m


Mother Hubbard

for chamber ensemble and CD, 15m


Mother Hubbard: f—mix

for chamber ensemble, 16m


Oil & Water

for symphony orchestra, 15m 30s


Over the Japanese Sea

for two baritones and chamber ensemble, 14m


Pale on the ground

for alto flute/flute, violin, viola, cello and double bass, 15m


Parted Tongues

for orchestra, 10m


Room

for soprano, double bass, percussion and clarinet in B flat


Room

for mezzo-soprano, clarinet and electric hurdy-gurdy, 9m


Rush

for B flat clarinet and two bass clarinets, 7m


Secret Arnold

for orchestra, 6m


Seduction by Salad

for soprano, tenor and piano, 5m


Self

for three percussionists, 10m


Seven Sheets of White

for soprano, mezzo-soprano and piano, 5m


Skirt

for flute/picc., clarinet/bass clarinet, percussion, piano, violin, viola and cello, 12m


SLIP

a site-specific work for dance, theatre, music and installation


small excesses

for violin and piano, 11m


Snap

for string quartet, 15m


So Long

for soprano and chamber orchestra, 5m


Soaring Roaring Diving

a film directed by Miriam Harris and Juliet Palmer, 6m


Solid Gold

for soprano and chamber orchestra


Songs from 'Flotsam and Jetsam'

for voice and piano


Starving Poetry

for marimba and violin, 9m


Stitch

an a cappella opera


Stitching in the Ditch

for symphony orchestra, 12m


Surrender?

for clarinet, voice, tape, turntable, live electronics and videos, 20m


Sweat

an opera


Swerve

for orchestra, 13m


Te Kahu

for violin, piano, and CD with recorded voices, 15m


The Heart has Narrow Banks

for clarinet, digital delay and projected video, 10m


The Moon

for SATB choir and piano, 2m


The Province of Impossible

for three performers, 40m


the truth and the truth

for solo vocalising percussionist, 2m


Three Poems from the Bulin File

for clarinet, tape, video and slides, 12m


tongue-tied

for piano, 10m


Trellis

for alto saxophone, bass clarinet and cello, 15m


Tufa

for guitar quartet, 15m


Vermillion Songs

for violin, cello, piano and tenor


W is for

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



Recordings (1)