| Opus 96 | Ahua (2000) |
| for solo soprano, mezzo soprano, tenors(2), baritone, large choir, orchestra and Maori kapahaka group | |
| A mix of opera and oratorio, with a dramatic libretto by Keri Hulme and strong, evocative music. It incorporates elements of Maori music, and a kapahaka group contributes traditional and original music to the work. 'Ahua' tells the story of Moki, one of the first of the Ngai Tahu tribe to settle in the South Island. | |
| Available from the composer |
| Opus 44 | Dogwobble and Other Songs (1990) |
| for SAB choir and flexible orchestra | |
| Four songs designed for easy learning by amateur choir, accompanied by a flexible orchestra. Includes the nonsense song 'Dogwobble'. | |
| Available from the composer |
| Opus 81 | From the Southern Marches (1997) |
| for solo SSTB, large choir and orchestra | |
| This major work contains a mixture of musical and literary sources, and is eclectic in style. The choir has plenty to do, but none of it is too demanding technically. It is a work which transcends its regional origins. | |
| Available from the composer |
| Opus 99 | The Bomb is Made (2000) |
| for large choir, strings, organ and timpani | |
| A reflective setting of the final verse of Keith Sinclair's moving poem on the theme of nuclear destruction. Written as a concert opener, but could fit within a programme as well. It is not technically demanding. | |
| Available from the composer |
| Opus 75 | Then I Understood (1996) |
| for SATB choir and orchestra | |
| Eight settings of poems by child poet Laura Ranger, capturing the clarity of a child's vision of the world. The music captures the essence of the poems through sound images, and tries to retain the youthful energy of Laura's words. Written for professional performers. | |
| Available from the composer |
| Opus 42 | To Face the Night Alone (1990) |
| for solo baritone, large SATB choir, and orchestra | |
| This major work traces the stages of the grief process, mixing poems by James K. Baxter, Sam Hunt and Janet Frame with a evocative and powerful libretto by Pat White. It is direct in style, and well within the capabilities of most city choirs and orchestras. | |
| Available from the composer |