Commissioned by the (Dunedin-based) Saturday Morning Music Classes to mark their 50th anniversary.
Toitu is a stream in Dunedin, "chosen as a metaphor for Dunedin's Saturday Morning Music Classes. From such
small beginnings, as in the youngest children who learn the basics of beat and
rhythm (like Toitu travelling through the green heartbeat of the town belt), Toitu,
and the older children, carry on to develop new elements in their stream of musical
learning until the can freely participate in the wonderful global language that
music offers. For a number of children, the significance of Saturday Morning Music
Classes is considerable, allowing dreams to turn into a musical reality."
Jenny Powell
Commissioned by the (Dunedin-based) Saturday Morning Music Classes to mark their 50th anniversary.
Toitu is a stream in Dunedin, "chosen as a metaphor for Dunedin's Saturday Morning Music Classes. From such
small beginnings, as in the youngest children who learn the basics of beat and
rhythm (like Toitu travelling through the green heartbeat of the town belt), Toitu,
and the older children, carry on to develop new elements in their stream of musical
learning until the can freely participate in the wonderful global language that
music offers. For a number of children, the significance of Saturday Morning Music
Classes is considerable, allowing dreams to turn into a musical reality."
Jenny Powell
There Future Lies was commissioned by The Woodford House Chapel Choir for performances during 2018, including The Big Sing.
It celebrates Woodford House school in Havelock North, and was performaned at the school’s 125th anniversary celebrations in 2019.
It is based on the theme of both future and past, and the progression of "time's slow hand".

for guitar and cello
Autumn Moods was commissioned by Matthew Marshall for performances by himself on guitar and Heleen Du Plessis on cello, during a New Zealand tour in 2017.
The piece is in two sections: the first is slow and melancholic, featuring a long arching cello melody; the second is quicker and has flowing repeated pattern through much of it. The new theme on cello is woven into a fabric of other ideas, some relating back to the slow section. There is more interplay between the instruments in this section, which gradually unwinds towards the end, coming to a reflective close.
Performance note: The Guitarist must tune the low E string down to D.
Dedicated to Matthew & Heleen
Test piece for cornet and piano, 2016.
Cornet Rhapsody was commissioned by The Brass Bands Association of New Zealand for use as a test piece in 2017.
As well as displaying technical features of the instrument this piece also explores its expressive qualities. It is structured like the old-style Hungarian rhapsodies of Bela Bartok: a slow section that features dotted rhythms, contrasted with a dance-like quick section.
The opening theme is based on a phrase from a Hungarian folk tune, based on the pentatonic scale D-F-G-A-C (on the cornet). This theme is developed in different keys and embellished by the soloist. The ‘chugging’ rhythm of the piano is also characteristic of folk-style playing.
Following a climax, the soloist has a cadenza that is based on both the opening theme and the new theme to come, in the ‘allegro’. This new theme outlines steps of 3rds and again contrasts different key areas. A third theme emerges, also pentatonic in nature, over a rushing piano accompaniment. These themes are varied, building to a climax and another short cadenza. A top D on cornet is followed by a brief and exciting coda.
This composition was supported by The University of Otago.
The piece reflects on different stages in life. The style of the music is deliberately naïve and simple, while also containing undercurrents of complexity.
Childhood was composed for The NZTrio and the composer acknowledges the support and assistance of the performers in the trio, Justine Cormack violin, Ashley Brown cello and Sarah Watkins piano.

This work was composed in 2016 for clarinetist Anna McGregor, for performance in Sweden.
The three movements are based around shifting pentatonic scale patterns and variations on them, and also aim to exploit various aspects of the clarinet.
for 5 cellos and piano
This piece reflects aspects of Nature and also reflects on human interaction with both the environment and each other.
The University of Oxford has posted a podcast with extracts of the Oxford concert featuring Gallipoli to the Somme
For soprano, bass, choir and orchestra
How does one create a piece of music commemorating World War I? It is a daunting task, to say the least. There are already many great works that comment on this conflict, Britten’s War Requiem, for one, a piece that I have loved since I was a teenager. This was an anti-war statement that resonated through a generation. Gallipoli to the Somme is more quietly anti-war, and aims to make a humanist statement about ordinary peoples' experience of the war. Ordinary people - soldiers, nurses, lovers, children from different nationalities - they are represented in some small way in this work, through diary entries, poems, traditional texts and songs, and even a military plan of battle. It is, of course, not possible to cover every perspective. There are four nations represented in the work: New Zealand, Britain, Germany and Turkey. The perspective that binds the whole structure together is provided by a soldier, Alexander Aitken, from the Otago Battalion in New Zealand. Aitken wrote a book about his experiences with the same title as this work: Gallipoli to the Somme, published in 1964, many years after the war. Aitken was a remarkable man, a professor of mathematics at Edinburgh University, and also a fine violinist.
Therefore, my composition traces Aitken’s journey from his arrival in Gallipoli, his experience of Christmas 1915, his preparation for battle at the Somme, the loss of his comrades, and encounters with the German army. The sound of his solo violin, which he took with him through the war, also pervades the piece. Somehow the violin survived and found its way back to Otago Boys High, Aitken’s old school. I have used extracts from Aitken's book (all prose), which are surrounded by a wide variety of other texts, most contemporaneous with the war. There are several poems by soldiers who died during the war, along with traditional song texts with re-composed music. There are even re-compositions of Schubert and Handel, resulting from Aitken experiences and thoughts. One example: at the Somme, Aitken see a sign-post with a finger pointing the direction to the town of Ypres. Even by September 1916 the name Ypres was infamous, and reminded Aitken of Schubert’s famous song Der Wegweiser (The Signpost) that contains the ominous line "There’s a road that I must wander / Where no traveller returns."
A unifying element in the work is the recurring 'battle music' – harsh, relentless, astringent and repetitive. There is no escaping the ugliness of war. The 'battle music' uses texts in different languages each time: Maori, English, German, and there is a purely instrumental version featuring the solo violin.
The work ends with words by the great Turkish leader Mustafa Kemal Ataturk, taken from the Anzac war memorial in Canberra.
This healing text is set to the same music that begins the work, providing a frame for the whole oratorio.
Those heroes who shed their blood and lost their lives, you are now lying in the soil of a friendly country.
Therefore rest in peace. There is no difference between the Johnnies and the Mehmets to us where they lie side by side in this country of ours.
You, the mothers who sent their sons from far away countries wipe away your tears, your sons are now lying in our bosoms and are in peace.
After having lost their lives on this land they become our sons as well.
Elena Poletti's poem The Nightsingers evokes the sounds of tree-frogs, ruru (the New Zealand morepork), and cats at night, as an accompaniment to a lullaby.
The poem by Anker tells the story of an old woman, Ellen, remembering her three sons who were killed in World War I. Ellen is a survivor but haunted by her lost sons, and remembers them as she goes about her gardening.
for wind band
This piece was commissioned by The Royal New Zealand Navy Band based in Auckland, to celebrate its 75th centenary in 2016. It was written for an anniversary CD recording as well as live performance.
Te Moana translates to 'The sea'. This piece begins with a short memorial for sailors lost in the line of duty. The energy and bold spirit of the Navy pervades the rest of the piece. A quieter second theme provides contrast, and contemplates the vastness and beauty of the sea, enlivened with sea birds.
For mezzo soprano and piano
This song was commissioned by Ian Loughran for performance by soprano Sophie Morris (accompanied by the composer) in The 2016 Fringe Festival, Dunedin. It is a setting of two connected poems by Dunedin-based writer Sue Wootton, comparing the beauty of a hummingbird with a sinister imitation, a flying drone. Although two poems are used, this should be considered as one song, and performed without a break.
Dedicated to John Psathas

Violin Sonata No.3 was composed on request from violinist, Manu Berkeljon, for performances in 2016 and 2017.
The three movements have the following subtitles:
I – Dreams
II – Lament
III – Dance
This composition was supported by The University of Otago.
For 8-part SSAATTBB choir unaccompanied
Poem by Primo Levi
The famous poem by Levi was written as a result of his experiences in Auschwitz in 1944-45. Levi escaped death, but was haunted by traumatic memories for the rest of his life. In The Survivor Levi dreams of his lost companions at Auschwitz, their faces in the dust and the mist. He tells them to leave his mind, and is haunted by feelings of guilt at being a survivor while others died. The song is unified by a recurring refrain Once more he sees his companions' faces.
Ants: Sextet was commissioned on request from violinist, Donald Armstrong for his group Amici. The piece is in a single movement, and is based on the theme of that remarkable creature, the ant.
These pieces were written to commemorate the passing of John Ritchie, composer and musician, and father of Anthony. They were commissioned by Margaret Nielsen, pianist and long-time friend of John Ritchie. The pieces attempt to capture different aspects of John's life.
He is Starlight was commissioned by Margaret Austin with financial support from UNESCO, for performance by The Woolston Band at the 2015 Festival of Star Light in Twizel, New Zealand.
The piece is a commemoration for composer John Ritchie (J.A.R.), my father, who died in 2014, aged 93. He had a long association with the Woolston Band, composing several pieces for them. The title He is Starlight is a line from a poem called Frost by Cilla McQueen, which describes a bereavement. I like idea that when someone dies they join the stars. This idea is suggested through musical imagery, with prominent use of glockenspiel, vibes and tubular bells, as well as mutes on the brass. The music also integrates a short quotation from John Ritchie's well-known Clarinet Concertino (1958). The slow opening leads to a faster, more ebullient section, which captures some of my father's energy as a busy musician.
Resources required:
Soprano Cornet (1)
Solo Cornet (4)
Repiano Cornet (1)
2nd Cornet (2)
3rd Cornet (2)
Flugelhorn (1)
Solo Tenor horn (1)
1st Tenor horn (1)
2nd Tenor horn (1)
1st Euphonium (1)
2nd Euphonium (1)
1st Baritone (1)
2nd Baritone (2)
1st Trombone (1)
2nd Trombone (1)
Bass Trombone (1)
E flat Bass (2)
B flat bass (2)
Percussion (3 + timpani, including glockenspiel, vibraphone, tubular bells, bass drum, tam tam, suspended cymbal)
Lullabies is a cycle of six songs, to be performed without a break, to poems by Elena Poletti, a Dunedin-based poet. These six lullabies traverse different perspectives, both adult and child.
Duet for soprano and mezzo-soprano
The Lamb was commissioned by Kate De Goldi to celebrate the birthday of her sister, Margaret Mary. It was composed for Margaret Mary (soprano) and Clare (a third sister and mezzo soprano) to perform with Kate at the piano. It is a setting of one of their favourite poems by William Blake, from the Songs of Innocence (1789).
This concerto was commissioned by euphonium soloist, Byron Newton to perform with the Wellington Brass Band and the Royal Airforce Band in 2015, with financial assistance from Creative New Zealand.
It is in four movements, but can be performed as a three-movement work also, by omitting the first movement:
I – Noir: molto sostenuto
II – Scherzo: allegro
III – In memoriam: grave
IV – Dance: allegro
Scoring for brass band:
1x Eb Soprano cornet
4x Bb Solo cornets
1x Bb Repiano cornet
2x 2nd Bb Cornet
2x 3rd Bb Cornet
1x Bb Flugal horn
Solo Eb Horn
1st Eb Horn
2nd Eb Horn
1st Bb Baritone
2nd Bb Baritone
1st Trombone
2nd Trombone
Bass Trombone
2nd Euphonium
2x Eb Bass
2x BBb Bass
3-4 Percussionists
Scoring for Concert band:
Flutes 7 (3 firsts, 3 seconds and Picc)
Clarinets 10 (4 first, 3 second, 2 third plus e flat)
Saxophone 4 ( 2 alto, tenor, baritone ( can have soprano if desired)
Euphonium ( 1, solo)
Horns 2
8 Trumpets ( 3-5 parts, trumpets and cornets, a few jazz specialists)
Trombones 5 ( including one bass)
Tubas 3
Percussion 4
For narrator & piano
Story - Jean De Brunhoff
The Travels of Babar was commissioned by Donald Cullington for performance by himself with narrator, for audiences of children and adults alike! It was written to be paired with Francis Poulenc's famous work Babar the Elephant. It is to be performed without a break, with some overlap between music and narration. Some items from the piece may be played in isolation from the story, if so desired. First published in the 1930s, the Babar stories have always been popular with children, and have been re-published many times, most recently by Random House.
Dedicated to Luca, Ashton & Sadie-Rose
Whispers of Gallipoli was commissioned by Robert Tucker for performances in 2015, commemorating 100 years since the ill-fated Gallipoli war campaign.
These songs build a picture of events surrounding Gallipoli through extracts from poems, songs, diaries and interviews. We hear different perspectives: from eye-witness accounts, from anxious mothers, from officers in command, from poets looking back on the campaign, from death itself, personified. Text from popular culture is mixed with Maori text, and there are poems both contemporary and old. The music sometimes dramatizes these words, sometimes reflects on them.
At the heart of the song cycle is a setting of the poem Anzac by Trooper Argyle Campbell.
Whispers of Gallipoli is a comment on a disastrous campaign, and the humanity of those involved. The final song, with words taken from the Ataturk Memorial in Turkey, is a reconciliation of the two sides who took part in this battle.
The song cycle is divided into three parts:
This composition was made possible with the financial assistance of The University of Otago, 2014.
Purakaunui at Dawn was composed for Anna McGregor and Dalecarlia, a quintet based in Sweden, for their 2014 tour of New Zealand. It was recorded on to the award winning CD Fjärren.
A film of the recording is available on the SOUNZ website.
The piece is in a single movement. A slow section is expressive and moody, and contrasts with the up-beat fast section. A quiet chorale idea interrupts the action towards the end, before the quick music returns to round off the piece. The music is not programmatic and can be interpreted as one wishes.
Programme Note by Michelanne Forster:
In 1814 seven men, four women and five children from the London Missionary Society were invited to settle on Nga Puhi land. This first permanent settlement at Rangihoua
marked the start of shared resources, shared skills and shared whakapapa between Maori and Missionary.
I originally wrote This Other Eden for The Court Theatre in 1996, and it followed on from two other history plays, Daughters of Heaven and Larnach- Castle of Lies, all
directed by Elric Hooper. The opera libretto reframes the play, telling the story through the eyes of Jane Kendall. It is interesting to note that the tiny missionary community
came from a Georgian world, and that, even in 1814, Maori were familiar with the advantages pakeha could bring, yet also wary of losing their mana and sovereignty. Anthony and
I worked a long time on this project. Several scenes were performed in The Great Hall in Christchurch in 2009 but the earthquake which devastated the city meant our plans to
stage the work there could not go ahead. I am grateful to Opera Otago for taking up the challenge, and thank my wonderful colleagues, and our talented cast for bringing the opera to life.
Programme Note by Anthony Ritchie:
I have always been passionately interested in our history, and the relationship between Maori and Pakeha.
The sounds of Maori music have been a presence in my music since I was a student, and echoe through my symphonies.
It is strong in works such as the choral work Ahua, to a script by Keri Hulme. I have also arranged several wonderful waiata,
including Tutira Mai which has been sung in many different countries around the world, and recorded by the Tapiola Childrens Choir in Finland.
Therfore I was very excited when approached by Michelanne Forster to compose an opera based on the story of missionary Thomas Kendall, his wife Jane, and their dealings with Hongi Hika and Nga Puhi. The story is so intriguing and full of drama, and rich with potential for music. Although I have written five operas before, This Other Eden breaks new ground: it integrates elements of a Maori sound world with a pakeha one, mainly through use of taonga puoro (Maori instruments). At no stage, however, does it actually borrow an existing Maori waiata but rather imbues the music with influences from waiata.
This opera also focuses on the actors. This might sound obvious, but in my opinion many contemporary operas suffer from being too focused on the orchestra. This Other Eden is a singers' opera, set to some wonderful, poetic words by Michelanne, with a great design by Marty Roberts, and superb direction by Jacqui Coats.
This composition was supported by The University of Otago.
Kaiser Bill was commissioned by The Christchurch School's Music Festival Association, director Patrick Shepherd, for performances in 2014, commemorating the outbreak of the 1st world war, in 1914. It is written for two parts: the top part is for untrained singers and non-readers; the second part is more challenging, preferably for children who can read music and have a wider range of notes.
Coverings was commissioned by Baroque Voices; written for the harpist Helen Webby along with 6 singers from Baroque Voices, under director Pepe Becker. This song was designed to be performed alongside Britten's Ceremony of Carols, and explores the theme of renewal.
The songs are settings of four poems by the Guantanamo Bay prisoners, and range in mood from one of homesickness and despair through to anger and determination. There are expressions of strength through spirituality, as well as descriptive imagery inspired by the surroundings.
This symphony was composed for The Christchurch Symphony Orchestra with financial assistance from The University of Otago. It is in one movement, divided into 14 sections, or 'stations', and is to be performed without a break. It is dedicated to those in Christchurch who have suffered in the earthquakes.
This symphony takes as its point of departure a book called The Way of the Cross, which combines images of sculptures by Llew Summers with poems by Bernadette Hall, both of which centre on the Christchurch Cathedral of the Blessed Sacrament, in New Zealand. Llew Summers' sequence of 14 sculptures entitled The Stations of the Cross were created for the Cathedral in Christchurch in 2000, and outline the final events in the life of Jesus Christ. They caused controversy at the time, with their challenging re-interpretation of the traditional Christian images. Bernadette Hall's 14 poems followed some years later, and were informed by the sculptures. The poems and images of the sculptures were both published in the book The Way of the Cross in 2005. In 2011, the Catholic Cathedral was ruined in the second of the major earthquakes that shook Christchurch, and currently faces possible demolition.
As a response to these events, this symphony includes several musical settings of Hall's poems in a one-movement structure divided into 14 sections, or 'stations'. Not all the poems are set, however: some 'stations' are purely instrumental, forming musical meditations on the texts as well as suggesting other images and moods related to the earthquakes. The trials and suffering of Jesus Christ as depicted in the poems/sculptures become associated with the trials and suffering of a city. There are also personal associations in the music, deriving from the composer's own experiences in the Cathedral, both as a composer and as a member of the Cathedral choir in the late 1970s. Consequently, two quotations feature prominently: first from Palestrina's Missa Papae Marcelli (in Station 5) and second, from Bach's St John Passion (in Station 12). Therefore, elements of mythology and life experiences are brought together in this work.
There is considerable cross-referencing of musical ideas between 'stations', and some re-cycling of material towards the end, as a sort of summary of themes. For example, the main themes from Station No.4 return and are extended in station No.13, and the quotation from Palestrina (transformed) also reappears at the climax of the work, at the start of Station No. 14. Below is a summary of the 'stations', with their subtitles taken from Hall's poems as well as biblical references:
Station 1 - "I am very small, you are very big" - soprano + orchestra
Station 2 - "my terrors" - orchestra
Station 3 - "I am a man who wakes from a dream" - soprano + orchestra
Station 4 - "She weepeth sore in the night" - orchestra
Station 5 - "Ceased from their musick" - orchestra (Based on a Palestrina
quotation - from the 'Crucifixus' in his Missa Papae Marcelli)
Station 6 - "Wide eyed, I have looked into the abyss" - orchestra
Station 7 - "My back curves like a whale breaching" - soprano + orchestra
Station 8 - "The women are like a halo around me" - orchestra
Station 9 - "The wood is a hammer" - soprano + orchestra
Station 10 - "Now I am as when I entered the world" - soprano + orchestra
Station 11 - "My arm is a road through suffering and pain" - soprano + orchestra
Station 12 - "Why have you abandoned me?" -orchestra (Based on a J.S.Bach
quotation - from the opening chorus of the St John Passion)
Station 13- "For one split second everything holds its breath" - soprano +
orchestra
Station 14 - "Light flickering on the horizon" - soprano + orchestra
With thanks to Bernadette Hall, Llew Summers, the Cathedral of the Blessed Sacrament, and Gretchen La Roche
Texts sung by solo soprano in the symphony
Poems by Bernadette Hall, from The Way of the Cross.
Bracketed text is omitted. Some stations include only one line of text, and others
are orchestral only.
First Station
I am very small, you are very big. I am lost here.
You have a lot to lose. You lift me on your mocking,
stabbing, [querulous] finger. You are sick and tired
of all the drama, the fuss. Life after all is too short
for this sort of nonsense. Before you I am a small boy,
my head full of dreams as is the way with small boys
who walk sometimes into lamp-posts distracted
by their dreams. The thing that stirs in me is bigger
than my fear. You want to stub it out. It is too simple,
too weird for you. I am the next country you must invade,
bringing down the walls and the roof, scattering the flock.
Your boots are planted. My feet are bare.
Yet you fear me. I am a small animal backed into a cave.
You will have me hounded with sticks and whips and wood.
[My fine pelt slung on a crossbeam.]
Second Station - "My Terrors"
(Orchestra only: sub-title from Lamentations 2:22)
Third Station
I am a man who wakes up from a dream and finds the weight of it
Still heavy on his shoulders
I am a man staggering under a sack of grain that will be poured out
On the ground and wasted.
I am running into trouble, running out of time, the wood pressing
Down on my neck.
My body is being shaped by the wood, blood bursting in my ears,
My ragged breathing.
I wrap my arms around the wood as a man might wrap his arms
around his child
to piggyback them safe across a swollen river. I am being swept
off my feet.
Like a swimmer pulled down under the water, I fling up my hand.
I am drowning alone.
Fourth Station - "She weepeth sore in the night and her tears are on her cheeks."
(Orchestra only: sub-title from Lamentations 1:2)
Fifth Station - "The young men have ceased from their musick"
(Orchestra only, with vocalizing: sub-title from Lamentations 5:14)
Sixth Station - "Wide eyed, I have looked into the abyss"
(Orchestra only: sub-title from the first line of the poem)
Seventh Station
My back curves like a whale breaching.
I lift my right foot. I am walking, still capable
of walking upright [or nearly]. I am folding
down like a landslip, like a collapsing building.
I have grown big in their minds, too big.
Like a tree I am shading them, bleaching out
their dreams. They have no idea what to do
with me. They cannot imagine any alternative.
I am a strong man, being cut down like a kauri.
Eighth Station - "The women are like a halo around me"
(Orchestra only: sub-title from the first line of the poem)
Ninth Station
The wood is a hammer
that drives me into the ground.
I am brought to my knees
like a broken animal.
[For a moment I can rest
propped up on my arm
Like a banqueter.]
But the food is bitter,
my mouth dry, my tongue swollen.
The wood is a fist
that grinds my face in the dust.
The wood is an assassin.
[What is to be given birth to here?]
Tenth Station
Now I am as when I entered this world.
They try to shame me but they are the ones
who are shamed. I am become as a child
to them, or rather, a criminal, a slave.
They look on my innocence with hard eyes.
They mock my simplicity.
My arms are open. I shall not close them again.
[My garment is a sail, my right hand an oar,
my body the boat that will take me to a holy place.]
Eleventh Station - "My arm is a road through suffering and pain"
(Orchestra and soprano singing one line from the poem)
Twelfth Station - "Why have you abandoned me?"
(Orchestra and soprano singing one line from the poem)
Thirteenth Station
For one split second everything
holds its breath. The heavens
darken, clouds are torn asunder,
no-body smiles.
It is the end, as they say,
of a very unfortunate episode.
Then the world resumes its busyness.
His friends arrive. They weep,
they are distressed as a woman in childbirth
is distressed. They climb the ladder.
They gather him up in their arms
like blossom, [like a harvest of sweet plums.]
Fourteenth Station - "light flickering on the horizon"
(Orchestra and soprano singing one line from the poem)
Station 3 - "I am a man who wakes from a dream" - soprano + orchestra
Station 4 - "She weepeth sore in the night" - orchestra
Station 5 - "Ceased from their musick" - orchestra (Based on a Palestrina
quotation - from the 'Crucifixus' in his Missa Papae Marcelli)
Station 6 - "Wide eyed, I have looked into the abyss" - orchestra
Station 7 - "My back curves like a whale breaching" - soprano + orchestra
Station 8 - "The women are like a halo around me" - orchestra
Station 9 - "The wood is a hammer" - soprano + orchestra
Station 10 - "Now I am as when I entered the world" - soprano + orchestra
Station 11 - "My arm is a road through suffering and pain" - soprano + orchestra
Station 12 - "Why have you abandoned me?" -orchestra (Based on a J.S.Bach
quotation - from the opening chorus of the St John Passion)
Station 13- "For one split second everything holds its breath" - soprano +
orchestra
Station 14 - "Light flickering on the horizon" - soprano + orchestra

touched was originally commissioned by Stephen de Pledge for a tour of the UK, and takes the madness of being in love as its theme.
The piece is in a single movement, using a slow- fast structure with the two sections being related thematically.
touched was released in May 2017 on a CD collection of NZ piano works entitled Sarajevo. The CD was recorded by pianist Jian Liu for Atoll Records, and can be purchased from Marbecks.
The song sets a poem by Dunedin writer, Sue Wootten. The text creates images of breathlessness and panic brought on by a heart attack, while also reflecting on the feelings that are stored within the character.
This piece was written for The Tresoli Trio of Christchurch, augmented by violist Vyvyan Yendoll.
The quartet is in one continuous 15 minute movement, divided into four sections: slow-fast-slow-fast. Although there are several different themes in the work, most of these are connected in some way with the opening melody which is based on the pelog scale used by Indonesian gamelan music.
These duets for 4 hands at one piano are designed for children to play, and the top part is mainly restricted to 5-finger position.
This piece was commissioned by violinist, Tessa Petersen as a dedication to her father, George Bouet Petersen (G.B.P), a scientist and keen organist.
The music celebrates aspects of George's life and work, including DNA sequencing and the origins of life as well as his love of music. It is a set of six variations on a long, lyrical theme that is played by the violin by itself initially, joined by the organ who plays it a 6th higher. This interval is significant in the music, which develops in an organic manner.
There are sharp changes of mood along the way - for example, the playful variation 2 gives way to a rumbustious variation 3, which in turn leads to a lively, fast variation 4. Trumpets on the organ lead the way in variation 5, which flows into the celebratory variation 6, which is the last and the longest of the sections. The music ends in bright radiance.
Variations for G.B.P. was written for Tessa Petersen to perform during her visit to Brussels in September, 2012, with organist Momoyo Kokubu at Eglise Dame du Finistere . It is also hoped George will enjoy playing it on his new organ at home!

Watch first performance on youtube
The published score can be purchased from Wai-te-ata Music Press
Performed by the Southern Sinfonia (conductor Tecwyn Evans) with violinist Bella Hristova at the Dunedin Town Hall.
The first movement of the concerto is lyrical in nature, the violin maintaining an expressive line most of the way through. At the start, the violin is like a voice singing in a dim-lit room, surrounded by shadows that rise and fall. A short violin solo follows, featuring anguished chords, before the shadows return. This leads to a new theme underpinned by marimba and harp, reminiscent of the sounds of the gamelan. Emotion is controlled here, before being released in a short climax that follows. In the middle section of the movement the shadows reappear but distorted, and transform into a bizarre dance-like idea. The violin is forced to dance along, before the music morphs back into the gamelan-like theme and the movement sprawls to an end.
Counter-balancing the long, somber first movement is a short and impish second movement that links directly into a fast finale. A dialogue between timpani and solo violin is set up at the start and becomes a feature of these two movements. The violin is bird-like in its gestures, flickering from one idea to another, while the timpani and strings are initially earth-bound and crude. This leads to a trumpet theme based on a 5-note scale, simple and joyful in character. The violin continues to lead the orchestra on a merry dance until the climax, where the trumpet theme is undercut by a bass-line in the wrong key. A cadenza for violin and timpani links the music directly into the third movement, a fast dance-like piece featuring themes that have an ethnic quality. The main melody is based on the mixolydian scale and uses cross-rhythm to break up regular patterns. After the orchestra has joined in with its own variation, the brass announces a rollicking second theme, followed by a spiky melody on violin, accompanied by strings. A developmental section follows where all three melodies are discussed, climaxing in another cadenza. Finally the soloist shakes off the rumblings from the timpani, and diverts into a quirky triple-time passage. Just as the strings join in the soloist suddenly goes back to the main theme, and the concerto is brought to a speedy conclusion.
For chamber orchestra. Commissioned by The NZ Symphony Orchestra, 2012.
Purakaunui was commissioned by The New Zealand Symphony Orchestra for inclusion in their series entitled NZSO In Miniature, and is designed for community and schools audiences. The music was inspired by the beautiful seaside settlement of Purakaunui, situated near Dunedin, where the composer owns a holiday house.
The beginning of the piece evokes the inlet early in the morning, with the quiet chatter of birds and shimmering of the sun on the sea. The oboe plays a bird call and it is answered on the flute and other wind instruments. The quiet throb of marimba and harp describes the tide slowly creeping into the inlet, and a soulful violin plays. The violin recalls sad times in Purakaunui's past, the hard struggle for survival among the local Maori and the destruction of Nature: the bird life, whales, the bush.
These thoughts are left behind as the music brightens into a climax and becomes much faster. It is summer in Purakaunui and children play in the inlet, swing from ropes, and jump off jetties into the sea. The sleepy village has become hive of activity, and peoples' spirits are raised as they forget their troubles.
Orchestra
1 flute, 1 oboe, 1 clarinet in B flat, 1 bassoon, 1 horn in F, 2 trumpets in C, 1
trombone, 1 tuba, timpani, 3 percussionists (playing triangle, wind chimes, crash
cymbals, bass drum, tom toms, marimba, tambourine, tam tam, xylophone), 1 harp,
2 violins, 1 viola, 1 cello, 1 double bass
This piece is designed to be performed without conductor
Dedicated to Annabelle

For soprano and piano. Poem by Joy Cowley
For Euphonium and piano. Commissioned by Buzz Newton, 2012.
Triptych was commissioned by Buzz Newton for performances in the U.K., and received assistance from Creative NZ, the Arts Council of NZ.
It is in one continuous movement, divided into three sections. The outer two sections are fast in tempo, with the final section forming a variation of the opening. The middle section is reflective and free in tempo by comparison.
A wide range of moods is created in this piece, ranging from the energetic and forceful opening to the melancholic and dreamy quieter sections. The final section gives the impression of being some sort of wild ride, with urgent rhythmic patterns and a jerky second theme. This score is notated at pitch. A solo part in B flat is available.
Dedicated to Buzz Newton
S.A.T.B. choir and piano. Commissioned by Rathkeale High School for 'The Big Sing', 2012.
The poem is a vivid portrayal of a wolf in Winter, struggling for survival.
Celebratory piece for soprano, choir, orchestra, for John Ritchie's 90th birthday concert, November 26, 2011.
Dedication to Dad! was commissioned by The Christchurch Civic Music Council to celebrate the 90th birthday of my father, John Ritchie. It is designed as a massed item for quick learning, and can be performed by a variety of types of ensemble.
The piece is based on two themes by John Ritchie, taken from his famous Clarinet Concertino (1957). The opening melody on clarinet is a waltz version of the main theme from the Clarinet Concertino's 3rd movement, while the change to 4/4 time heralds the appearance of the 1st movement's main theme. These themes are subject to variations, including a slow choral variation, with soprano solo, which sets words by Shakespeare, from The Tempest. A short fugue prior to this is based on the inversion of the 4/4 theme. The waltz returns at the end to round off the piece, now transformed into a new, brighter mode, and the music slips into the song Happy Birthday - the second time through this is designed for audience participation.
Two other motifs are worth noting: the timpani's D-A-D near the opening, which needs no explanation, and an unsettling idea on the lower instruments at bar 46, which begins with the motif c-b-c-b-c-b. Re-spelt using the traditional German note names this motif reads C-H-C-H-C-H, and is a reference to John Ritchie's home town, Christchurch. Its unsettled character is due to the shaky year of earthquakes it has recently experienced.
The premiere performance took place in the CBS Arena, Christchurch, on November 24, 2011, under the baton of Bill Hawkey. Bill also helped advise the composer with this score, and for that I am very grateful. Thanks also goes to Graeme Wallis for his help with organizing this commission and concert.
This short piece imagines a parallel between the sound of harp music and the movement of spirits, or angels. The flowing movements of the angels are unpredictable, capricious and playful. The gradual modal changes through the piece find rest at the end, as the music finally descends into the lower register of the harp.
This piece requires a double-action harp.
Written for the NZ String Quartet, this is an intense and moving work that evokes what happens when we lower our masks and reveal out true selves.
This work was written for The New Zealand String Quartet to celebrate my father's 90th year. It is in one continuous movement, divided into three sections:
This work is about the struggle to show and express emotion openly. Many of us put on masks to hide our true feelings, and if this happens too much it can lead to an explosion, where pent-up emotions are released suddenly. This release is often followed by a sense of catharsis, that might take the form of tears following a rage. Gradually, as a normal state of mind returns, we put up our mask once more. The music attempts to express these ideas while maintaining a unified structure. One reference worth mentioning is the idea that first appears at letter A, a small quotation from a hymn called 'Soul of my Saviour'.
Written for the NZ String Quartet, this is an intense and moving work that evokes what happens when we lower our masks and reveal out true selves.
These songs were commissioned by poet Diana Neutze, for performance in her home, in Christchurch. The composer chose the seven texts to set in consultation with Diana, with reference to four volumes of her poetry. The choice of voice and instrumentation was, likewise, made in a collaborative fashion. The character of the songs is inspired by the poems, their ideas, images and sounds, and also from conversations between composer and poet. Diana has suffered from multiple sclerosis for many years and the themes of life and death, and coping with suffering are significant in the song cycle. However, Nature also plays an important role in this work, with frequent references to the garden, birds and the elements. The whole cycle is also informed by the quotation in the last song, from Bach's Chaconne in D minor, from his Partita, referred to in the poem 'Goodbye'. The presence of the poet is also signified by the notes D-A-E, taken from Diana's name, which appear as a motif in the songs.
Dedicated to Diana.
Music for a dance film by Daniel Belton.
This music was commissioned by Daniel Belton and Good Company for his dance film, entitled Line Dances. It was written for performances in the Otago Festival of Arts, October 2010. The recording and first performances were played by the composer, in collaboration with Daniel Belton. The premiere took place in the Metro Cinema, Dunedin. The music is for 6 short films, each informed by an art work by Paul Klee. The music to these dances is intended to be performed as concert music, or prior to a screening of the films. The films themselves contain elements of the music, crafted into a soundscape by Belton. See www.goodcompanyarts.com.
Line Dances - The Prelude
For the film viewings at the metro Anthony Ritchie telescoped the music from these 6 movements into a 10-minute prelude for piano. This prelude is also available for public performance.
These are lively pieces that incorporate Polish folk and classical music into a contemporary musical fabric. They are designed to show off the capabilities of the flute, complemented by an exciting piano part. Polish Dances have been recorded by Adrianna Lis for a CD of NZ flute music, to be released by Atoll Records. Recorded for inclusion on a CD of NZ flute music, Atoll Records.
This work is based on three Polish dance pieces:
1. Chlopaki ,Chlopaki, a folk song performed by the National Song and Dance Ensemble "Slask".
2. Mazurka in A minor, op.68, No.2 (posthumous) by Chopin.
3. Polka Szabasowka, adopted by Polish folk performers.
S.S.A.A.T.T.B.B. unaccompanied
Although in 8 parts, this is a simple, evocative setting of Denis Glover's poem through the eyes of West Coaster, Arawata Bill. Suitable for adult or youth choirs.
There is a mixture of the quirky and expressive in these 3 settings, written to celebrate the silver anniversary of Viva Voce.
This easy lyrical piece exploits the mellow, wistful tones of the clarinets, ranging from the higher E flat instrument down to the bass clarinet.
It was subsequently arranged for string trio
This setting of Lauris Edmond's poem is thoughtful and beautiful, well suited to an amateur choir. It was written for The Southern Consort of Voices in Dunedin, to celebrate their 30th anniversary.
Piano Practice was commissioned by The Southern Consort of Voices to celebrate their 30th anniversary in 2010. It is a setting of a poem by New Zealander Lauris Edmond, describing a young girl practicing the piano and comparing the rigorous discipline of this exercise with the freedom of playing outside. The song is designed for a chamber choir of about 30 singers, splitting into 8 parts at various stages. It was premiered in June at the Otago Girls High School Auditorium.
Dedicated to The Southern Consort of Voices
Winner of The Supreme Achievement Award by The Listener for 2010, this symphony is bold in colour and gesture, and presents an exciting challenge for the orchestra. It was recorded for CD by the NZSO and premiered at the Otago Festival of Arts by The Southern Sinfonia.
Symphony No.3 was composed as part of Anthony Ritchie's work as senior lecturer in composition at the University of Otago, in Dunedin, New Zealand. It was written over a period of two years between 2008-2010, without a specific orchestra in mind. It will be recorded by The New Zealand Symphony Orchestra under conductor, Tecwyn Evans, in 2010, as part of a CD of Anthony Ritchie's orchestral compositions. The premiere live performance will take place in The Otago Festival of Arts, October 2010, with the Southern Sinfonia orchestra in Dunedin. The composer wishes to acknowledge the support of the University of Otago in writing this symphony.
To Sandy
This symphony is a portrayal of two sides of human personality, represented by the two movements of the work: 'Up' and 'Down'. The music depicts the constant struggle to find balance in one's life, in terms of mood and relationships with other people.
Broadly speaking, 'Up' is active, busy, vibrant in mood. Musical motifs and themes emphasize upward progressions, while the orchestration is lively and colourful. Full of blazing brass and high-pitched woodwind, 'Up' is associated with images of the sun, and outdoors activity. Percussion play an important role rhythmically, especially the combination of log drum and tom toms. Eventually the lively character of the music loses control, leading to a riotous climax involving the percussion and full orchestra in unison. The music disintegrates into a short oasis of calm, before the busy mood is gradually re-established, and brings the movement to an end, on a bright sounding D Lydian chord.
'Down', by contrast, is melancholic, slow and mournful in mood. If 'Up' is associated with the sun, then 'Down' is associated with Saturn. There is also reference made to Durer's famous woodcut, 'Melancholia' (1514), in which a magic square appears. The numbers on this square are used to generate themes and ideas in this movement - the opening piccolo melody, underpinned by wispy strings, for example. A second theme, featuring tuba and bass trombone, refers to a 'tuatara' theme written by the composer in 1991, and here is ponderous in tone. Following a gradual buildup a faster section emerges, full of tension and unresolved progressions. The angry protests subside, and a mysterious passage recaps the first theme, accompanied by constantly shifting strings. Out of the depths emerges a bass clarinet, playing a bird-like theme, which is picked up by the other woodwinds in a fugue, which refers back to the earlier quick section. After a brief silence, the second theme reappears but this time in a passionate, full-blooded version that leads to a tense climax. The music searches for resolution, and eventually finds it in a lyrical coda for strings alone, to start with. Themes from earlier in the symphony are transformed, and the overall key centre, D, is hinted at but never quite reached. The chiming of a clock suggests the never-ending passing of time, and the log drum, so prominent in the first movement, returns to conclude the work.
Structurally, 'Up' has elements of sonata form which become increasingly loose as the movement progresses. 'Down' is symmetrical in arrangement, with the mysterious section forming the centre of the following form A-B-C-D-C-B-A (+ coda).

This setting of Jenny Bornholdt's poem is flowing and intense. It was written for the NZ Youth Choir for its 2010 World Tour, performed at the Shanghai Expo, and broadcast by the Australian Broadcasting Corporation.
The poem by Jenny Bornholdt is a memorial to those Anzacs lost in the wars, but also celebrates the connections between New Zealand and Australia. Images of sea and water dominate the music, which features long flowing vocal lines.
This piece progresses from the perpetual motion of the opening, through a dark lullaby and onto a fiery last section that tests the performer's technique. It was composed for Tom McGrath, who recorded it onto the CD Expressions, released by Ode Records in 2010.

Olinda is based around an original song by Henry Purcell, with modern harmonies and counterpoints added. Flowing and lyrical in tone, it was written for Voices NZ, and widely performed by them.
The theme of the song is lost youth and the relentless march of time, a common theme in poetry from the 1500-1600s.
This piece was composed for Puspawarna Gamelan, the community group based at the University of Otago, and given its first performances in 2009. It has been recorded on a University of Otago Music Department CD by the ensemble.
This piece was composed for Puspawarna Gamelan at Otago University for a performance in October, 2009. There is a traditional gamelan score plus a score using Western notation, which is a guide to the composer's intentions. Individual parts may be improvised around, although the main theme and its echo at the end should be preserved as indicated in the score. There are embellished solos written out for gender, 1st saron, bongang panerus, bongang, gambang and kandang which are not notated fully in this score - refer to the western notation for these solos in full. The word 'ring' is used to indicate the sound being sustained and not dampened. Different octaves within one instrument: different octaves are used within the range of the gender and gambang - refer to the Western notation for the actual pitches intended.
The piece has the following sub-sections: Theme - Canon (on the theme) & Canon with variations - Theme 2 -' Bright' theme Theme 2 repeated with variation - 'Bright' theme repeated with variation - Canon repeated - Theme reduced
A song about that most wonderful and spiritual of arts, Maori wood carving.
Carving is about that most wonderful and spiritual of arts, Maori wood carving. The poem was written by Apirana Taylor.
This work for flute, oboe, clarinet, bassoon and horn was inspired by scenes in central Otago in the South Island of New Zealand, and also the poetry of Brian Turner. Both challenging and thoughtful, this piece was written for Zephyr for their Chamber Music NZ tour in 2009, and recorded by Radio NZ Concert.
Symphonic work inspired by the media used by Frances Hodgkins - water-colours, oils and gouaches.
Listen to performance of Gouache
Portrait of FH was commissioned by The Southern Sinfonia and written as part of a presentation about the life of great NZ artist, Frances Hodgkins. It reflects on aspects of the artist's life, ranging from her early days in NZ in the late 19th century through to the 'flowering of her career' in the 1940s, when she was one of the leading modernist painters of her generation.
The work opens with the Frances doodling at the piano (an instrument she played), improvising a theme, which then gets woven into the fabric of the piece. The orchestra enters with a flourish, and both the Prelude and 'Water- colours' are optimistic and lively in tone.
In 'Water-colours' I took as a cue Frances' statement "I made the paint dance," and a waltz feel pervades the piece. 'Oils', by contrast, is somber in tone, with a sense of loneliness and also reflects the hardships of war. 'Gouaches' is strange and colourful in sound, and becomes heroic in tone towards the end, before an unresolved ending, in which the piano returns again.
All movements are connected by the use of a musical motif, F-B which, when using the traditional German note names, spell F-H. This motif, representing Frances, also relates to the whimsical, poignant self-portraits she painted.
This work was the brainchild of art collector and curator Marshall Seifert, and it is to Marshall that I dedicate the music.
This cycle is a setting of four poems by Christopher Marshall which explore the nature of words and their use in human relationships.
Song cycle for mezzo soprano, viola and piano
Poems by Christopher Marshall | Music by Anthony Ritchie, 2008
This song cycle was commissioned by Christopher Marshall for inclusion in his chamber music series, Christopher's Classics, in 2009. It was written for Catrin Johnsson, mezzo soprano, Serenity Thurlow, viola, and Rachel Fuller, piano. The four songs to words by the commissioner himself explore the nature of words and their use in human relationships.
This short piece is evocative and playful, showing off different sides of the guitar. It is aimed at around grade 8 to LTCL level.
This short piece for solo guitar evokes one of those unusual, hot summery evenings in the deep south of New Zealand, where the sun never seems to set and the sky has strange colours. The slow sultry opening gives way to a sensual dance-like section, ending with a more up-beat and slightly bluesy coda.
Sultry was commissioned by Matthew Marshall and first performed by him. His performance is available on video - see the performance on the SOUNZ website. Sultry is due to be published by Promethean Editions.
A colourful work in three sections and describes the progression from night through to early morning.
Nocturne & Sunrise Trio for Flute, Viola & Guitar Anthony Ritchie Nocturne & Sunrise was commissioned by Serenata a Tre for performance during their 2009 tour of New Zealand. It was written for performers Donald Maurice, viola, Barbara Hill, flute, and Giovanni Seneca, guitar. The work is in one continuous movement, divided into three sections:
The trio was started while the composer was on study leave in France. It is inspired by the transition from evening through night and on to morning. Different moods and atmospheres are created in the music, reflecting these times of the day.
The first section opens with slightly dark and tense theme on guitar over a gentle ostinato. This theme gradually unwinds as a busy texture is developed, leading to a much more vigorous idea on viola. The guitar sets up a rock-style accompaniment under the other instruments. These ideas are then developed before the section fades, the opening motif being turned upside down.
A sustained note on flute links the music into a slow section which depicts the sounds of night-time in a small Parisian apartment - with distant echoes of footsteps, doors slamming, and so forth. Special effects are used here, such as playing with the wood of the bow, and fluttertongues on the alto flute (a lower pitched flute). The music employs 12-note rows to create tension and uncertainty, which is then dispelled by the buoyant final section. Darkness gives way to sunrise, and there is a, a gig-like feel to the ideas. Modes are used for the melodic lines, and mirror-inversions of the themes are also used for variation. The ending is a celebration of the new day ahead.
Nocturne and Sunrise was funded by The University of Otago, as part of the composer's 2008 study leave in Paris.
A substantial overture using a slow fast slow structure. Written while the composer was visiting Paris.
French Overture was composed for The New Zealand Symphony Orchestra on request from conductor Tecwyn Evans, for inclusion in the 2009 tour of the North Island. It is scored for a Classical sized orchestra, and adopts the structure of the French Baroque overture: slow-fast-slow. Some features in the music also suggest a neo-classical character, such as stern dotted rhythms at the start and a fugato section in the quick section.
The composer wrote this overture while on study leave in Paris, and it is informed by some of his experiences in that city: the plethora of ancient buildings and sites, the noise and bustle of the place, the people living on the streets. At one point a strange waltz emerges, reminiscent of music from an organ grinder. Another feature is a long, climbing melody on violins near the start of the overture, which represents the eye's search for light in Paris.
Surrounded by tall apartments, we have to look up to see beyond them, something a New Zealander is not used to doing. There is elegance in Paris but there is also a tough and forbidding quality that makes a strong impression on someone from a small, unpopulated country. When the stern opening returns late in the piece it finally subsides into something softer and more human, a folk-like version of the climbing melody, which now descends peacefully into a quiet timpani solo at the end.
A reflective piece commissioned as a birthday gift for an organist who is a keen gardener.
A setting of a poem by Ursula Bethell celebrating gardening and delving into life's mysteries.
This song was commissioned by Otago Heritage Books to honour, in her 70th year, Judy Cox's irreplaceable contribution to thirty years of successful regional publishing. The words are from the poem 'Pause' written by a fellow gardener, Mary Ursula Bethell, and included in her first collection of poems, From a Garden in the Antipodes, published in 1929.
It was sung by Rosemary Tarbotton, with the composer at the piano, on July 12, 2008.
A short fun song for children's choir setting a poem by Margaret Mahy about a cat. No clarinet required.
Poem by Margaret Mahy, music by Anthony Ritchie
Cat in the Dark was commissioned by The North Canterbury Academy of Music for performance in their Music Quarter Festival, in Rangiora, 2008. It was written for massed childrens' choir in unison and 2 parts. The final verse also includes a short 'round' in 3 parts.
A short fun song for children's choir setting a poem by Margaret Mahy about a cat.
Poem by Margaret Mahy, music by Anthony Ritchie
Cat in the Dark was commissioned by The North Canterbury Academy of Music for performance in their Music Quarter Festival, in Rangiora, 2008. It was written for massed childrens' choir in unison and 2 parts. The final verse also includes a short 'round' in 3 parts.
There are also two instrumental accompaniment options: one for piano and clarinet in B flat, and one for piano and instrument in C.
A sunny and life affirming work with an emphasis on expression and colour rather than virtuosity.
A sunny and life affirming work with an emphasis on expression and colour rather than virtuosity.
This concerto is a sunny and life-affirming work. There are moments of reflection however, such as the slow introduction, where a long melody on piano is picked up by the strings in the orchestra. Elements of this melody become the basis for the 'allegro' that follows which features three main ideas. The second of these, on piano with strings playing pizz. and col legno, is hyperactive and unpredictable. By comparison, the third theme that emerges on piano solo is more lyrical, and neo-classical in style. A busy development section builds to a climax and themes appear in reverse order. The fleet-footed coda features canonic entries and the movement comes to a bubbly conclusion.
In the slow movement a modal melody is undercut by dissonances on the piano, suggesting painful memories. The melody is passed over to the flutes, and back to the piano in a quasi-improvised passage. A second theme appears on the violins, lyrical and arching. After development of the theme, the piano has a short solo that brings the music back to the opening. Following an unexpected modulation the main theme is varied by the orchestra, leading to a short, quiet coda.
The finale is a whimsical, neo-classical piece, descriptive of the movements of wind-up toys. Dramatic gestures are really only mock- dramatic, and serious ideas give way to playful fun as ideas are shared quickly between orchestra and piano. The percussion have something to say near the end, suggesting toy soldiers, before the pieces comes to a rapid end.
A sonata in 3 movements that captures many different characters of the flute and is accompanied by an exciting piano part.
The Flute Sonata was composed for Alexa Still, and is in three movements:
The first movement is characterized by strong accents and motor rhythms. A wedged-shape opening theme is contrasted with a darker, smoother second theme. The movement has traces of sonata form though the structure is treated with freedom. A mysterious middle section builds to a climax, leading to a highly truncated and varied recapitulation.
In the second movement a florid flute melody contrasts with a heavy chordal motif on the piano. The somber mood is lightened a little by a higher pitched second idea that, nonetheless, has a rather sinister character. Towards the end, the flute part becomes freer in rhythm, like a small cadenza, and anticipates ideas in the third movement.
This final movement is connected to the second without a break, and is dance-like in mood. A quirky opening theme builds to a more robust second idea. As these ideas are developed a waltz-like section appears on the piano, contrasted with a more lyrical theme on flute. A reversed recapitulation of themes leads to a quicker coda, and the work ends with a flourish.
Total duration: 14-15 minutes
Dedicated to Alexa
A lyrical and peaceful setting of the iconic poem by Hone Tuwhare.
Rain is an iconic poem by Hone Tuwhare, describing beautifully a feature of the weather but also subtly ruminating on death. The setting is quiet and lyrical, with an optional part for a rainmaker (to be played by the singer).
This setting for baritone and piano was written for Matt Landreth, and recorded by him. The recording and score were auctioned to raise funds for the Otago Hospice appeal in May 2008, upon request from Martin Ferguson. The song was subsequently scored for orchestra and recorded by Matt Landreth and the Auckland Philharmonia. Duration: 6 minutes approx.

A lyrical and peaceful setting of the iconic poem by Hone Tuwhare.
Rain is an iconic poem by Hone Tuwhare, describing beautifully a feature of the weather but also subtly ruminating on death.
Designed for teacher and pupils. Scored for 6 to 8 cellos and makes a good companion piece for Bachianas Brasilieras No. 5 by Villa-Lobos
This piece was commissioned by Greg Hamilton for performance by his cello ensemble at the cello festival in Dunedin, 2008. It is scored for 6 cello parts, but can be performed with more than one cello per part. For example, it is possible to have 2 cellos doubling the lower two parts, making a total of 8 cellos. Parts 1 and 2 are the most demanding, while parts 5 and 6 are the least demanding, with parts 3 and 4 being inbetween. Therefore, the piece can be played by players with a mixture of experience.
Dedicated to Greg Hamilton
Takes an ancient Chinese poem as its inspiration. Creates a simple calm sound world.
Meditation was commissioned by Tessa Petersen and John Van Buskirk for performance in a concert celebrating the opening of the Chinese Gardens in Dunedin, New Zealand, 2008.
The piece takes an ancient Chinese poem as its point of departure, a text that focuses on Nature and its relationship to humans. The music spontaneously expresses thoughts of Nature and beauty, using simple ideas based around modes, repeated ostinati, and a mixture of long melodic lines and shorter motifs. Various timbres on both instruments are explored, and the pianist plays on the strings of the instrument with mallets at the beginning and end of the piece.
The piece is structured in 3 main sections: slow-faster-slow, and all sections are played without a break.
A short amusing piece based on a twelve note row and featuring lively rhythms.
Fours into Twelve was commissioned by David Heyes for performance in the Bass-Fest@Wells, April 18-20th, 2008. It is one of a series of short concert openers commissioned by Heyes. Scored for four double basses, the piece is based around a 12-note tone row and includes lively rhythms and contrasting timbres.
Duration: 1:30 approx.
A short lively piece for amateur orchestra. Buoyant in tone and inspired by street processions.
Procession was commissioned by The Manukau City Symphony Orchestra, as part of the Composer-in-Residence position held by the composer. It was written for the orchestra's April concert in 2008.
The music was inspired by street processions such as Santa parades, graduations, or protest marches which have played an important part in New Zealanders' lives. It opens quietly as the procession approaches from afar, with a rhythmic idea on the woodwinds which is picked up by strings. The trumpet plays a simple second theme, which is then played in canon. The momentum builds to a climax, and a contrasting flute theme is presented. Themes are developed briefly before a rumbustious coda brings the piece to an end.
The mood is generally buoyant in tone, with strong march rhythms interspersed with some meter changes.
Based on a transcription of two Hungarian Jewish folk tunes combined to make a lively short concert item.
An octet using the same combination as the Schubert Octet and in one continuous movement. Evocative sound colours within the ensemble depict the life cycle of the octopus.
This Octet was commissioned by Donald Armstrong for his group Amici, to be performed in concerts around the Wellington region in 2007-8. The premiere took place in Waikanae, July 15.
It is scored for the same combination as the famous Schubert Octet in F: 2 violins, viola, cello, double bass, clarinet, bassoon, horn in F
The Octet is in three linked sections, with the following subtitles:
The Octet was composed as part of the composer's work at the University of Otago.
Duration: 12:30
A ten minute mini-concerto based on the song of the humpback whale.
The solo double bass is to be tuned E-B-E-A (from lowest to highest string). The bass should be amplified to achieve a good sound balance. All the bass part is sounding an octave lower than written, including harmonics.
The other double basses in the orchestra also sound an octave lower than written. One bass must have a low C.
The percussionist is to improvise patterns on the bass drum when playing with the super ball (letters A-D). The sound should ebb and flow, and there should be occasional silences. The gestures should be slow and reflective. Dynamics can fluctuate but should never be too loud for the solo bass.
The timing of the 'seagull' effect in bars 17-40 (solo bass and 1st violins) can have some freedom. However, the conductor must maintain a strict tempo throughout (aside from pause bars).
The rhythm of the tapped pizzicato in bars 20-44 (2nd violins) is free. It is to be played as quickly as possible, but the violins should not be synchronized. Each progression is achieved through a slow glissando and with approximate timing. However, the players should aim to arrive at the beginning of each bar together, if possible.
If possible, the loud rim shot on the side drum at letter H should not be telegraphed by the conductor. It is intended to surprise. Slap pizz. and 'snap' pizz. should be strongly percussive.
Whalesong was commissioned by The New Zealand Symphony Orchestra and composed for soloist, Dale Gold. It was written for inclusion in the orchestra's 2007 subscription series.
Duration: 10 minutes approximately
Dedicated to Dale Gold
Whales have long been one of my favourite mammals, and I have always felt greatly aggrieved when I hear of the slaughter of these huge and gentle creatures. One of the most heart-warming sights I know of is seeing a community of people trying to save beached whales, a sight that is not uncommon around our coastline. For most New Zealanders, the idea of hunting whales is now abhorrent and worthy of protest at an international level. This piece, entitled Whalesong, is my small contribution to that on-going protest.
The piece takes its inspiration from a marvellous and famous recording of a humpback whale, made by Frank Watlington of Columbia University Geophysical Field Station, and first released by Roger Payne in 1970. Some phrases from this song have been incorporated into the music, such as the opening rise of a third. The many sliding phrases in the piece owe a debt to the whale's singing, as do some low rumbling effects on the double bass. The echoing sound world of the underwater is also evoked in the music. Ideas from the whale's song are subjected to compositional processes, in order to create a coherent piece of human music, something the composer has already grappled with in his work for flute, entitled Tui (2004).
Whalesong also has a programmatic component to it. Its peaceful song is cruelly interrupted by a harpoon, and the whale is slowly hauled in (signified by the mechanical rhythms in the final section of the piece).
I would like to express my gratitude to Dale Gold for his assistance and advice in writing this piece
A collage of quotations from the Russian master, woven into a colourful fabric.
In 1975 when Shostakovich died I was in the fourth form at St Bedes College and already hooked on the music of the Russian genius. When the death notice appeared in the paper I solemnly set to work on an orchestral piece 'Dedication to Shostakovich', much to the amusement of my schoolmates. Now, 31 years later, and during the centenary celebrations of Shostakovich's birth, I have had the opportunity to write another dedication to the composer, courtesy of the Christchurch Symphony and Otago University (who funded the commission).
When the idea of writing a piece based on a Shostakovich theme was first suggested, I immediately thought of a 'Theme and Variations'. However, I found it too difficult to settle on a single theme - there were so many good ones to choose from! This gave me the idea of basing the piece around more than one quotation from the composer's oeuvre. Shostakovich himself was fond of quoting other composers' works (and his own works also), as in the Eighth string quartet when the quotations form a string of coded messages. I decided to take this route, and ended up creating a piece that quotes Shostakovich 14 times. Some of these quotations are literal ones, while others are more disguised. Some are quite lengthy and form a structure to base the music around, while others are very short and fleeting.
The Shostakovich of this piece is not the Shostakovich of the epic symphonies (although they have their place here). Instead, I use lesser-known early works as my starting point: those youthful, zany, cutting edge works that express an almost manic character on occasions. So the work opens with menace from the 4th symphony, followed by cheekiness from the Aphorisms for piano, and satire from The Age of Gold ballet. In amongst these are references to numerous other pieces, and particularly a deathly string chord from the 15th String Quartet. They are brought together through free-association of ideas, and a few recurring motifs. The final section uses a theme from the 10th Symphony, second movement, as the basis for a frenzied conclusion.
When I wrote this piece I had in my mind the image of the crazed composer writing a sort of jumbled diary that lurches from farce to despair in rapid succession. Shostakovich was very fond of the 19th century Russian author Gogol, basing his first opera The Nose on one of Gogol's short stories. Another of Gogol's stories is 'Diary of a Madman', which uses the formula of 'laughter through tears', a formula that is very often present in Shostakovich, too. Therefore, my piece Diary of a Madman: Dedication to Shostakovich is designed as a funny/sad commentary on a great composer who's music could induce both laughter and tears.
Six pieces for young performers on the theme of local wildlife, aimed at grades 4-5.
The work portrays six creatures found around the Otago region. Each piece aims to describe a feature of these creatures, as well as offering a variety of technical challenges to the pianist.
The individual pieces are titled Sand-hoppers dance, Seals slither, Kereru swoop, Hoiho hip hop, Crabs scuttle, Albatross glide.
Note: Kereru are NZ wood pigeons, Hoiho are yellow-eyed penguins.
A stormy and vibrant piece with challenging organ part.
Organ Overture was commissioned by the Southern Sinfonia to celebrate the orchestra's 40th anniversary. It was written and funded as part of the composer's work at the University of Otago. It features a prominent part for concert organ, and is also partly a tribute to 'Norma', the Dunedin Town Hall organ.
Orchestras often bring together many threads of a musical community, and are a vital part of the culture in New Zealand cities. The diversity of instruments and musicians on display in an orchestra are a great source of inspiration for composers and music-followers alike. In this overture I give thanks to the Sinfonia, and wish it a long and happy future.
Elements of southern weather find their way into the music. The piece opens stormily, with jagged lightning and rumbling thunder. A vigorous theme emerges and leads to a gusty, pulsating passage. As this calms a little, a drum rhythm appears. Following a flowing melody on strings, accompanied by the organ, the percussion rhythm battles with rest of the orchestra. This leads to a fugue on the woodwinds, based on the opening melody, The organ then takes over with a brief cadenza, leading to a rhythmic coda in which the main themes are summarised.

A substantial work in 3 movements - a lively and energetic first movement - a brooding slow movement - and a restless uneasy finale.
In the last five years Anthony Ritchie has focused much of his creative energies on chamber music. Piano Trio composed in 2001 indicated a new direction, with use of 12-note rows and generally a freer approach to all musical parameters. The trio was followed by String Quartet No.2 (2003), Oppositions for Piano Quartet (2004), Rites of Passage, for bassoon and string quintet (2005), and now the Clarinet Quintet. A CD of Ritchie's chamber music has just been released by Kiwi Pacific Records, including the trio and piano quartet, along with sonatas for cello and viola from the 1990s.
Clarinet Quintet was commissioned by Christopher Marshall for his chamber music series "Christopher's Classics" in 2006. It was written for Gretchen Dunsmore, clarinet, and The New Zealand String Quartet, for a premiere performance on September 13, 2006. The composition was also written as part of the composer's work at The University of Otago.
The point of departure in this work is Mozart, in the year of his 250th anniversary. Motivic ideas are derived from the opening melody of his Clarinet Quintet, using a magic square to transform the pitches. No direct reference is made to the Mozart theme until the third movement, which is more diatonic in character.
The first movement begins mysteriously, with a clarinet solo interspersed with rustlings from the strings. This solo contains the seeds for the entire movement, which is fast, lively and angular, following the slow introduction. A more moody and edgy middle section gradually builds up to a climax near the end of this movement. Contrasting with this is a slow middle movement that opens with a simple and bold statement on the strings. Over the top of this the clarinet plays a lamenting melody. The first four notes are a quotation from the composer's opera The God Boy (Mrs Sullivan's motif) signifying anxiety and guilt. A slightly calmer middle section is free in tonality, and builds up strongly in intensity, followed by an abridged return to the opening.
The finale is a 'moto perpetuo' movement in which the diatonic opening idea is undermined by subtle tensions in the music. Although it is fast-paced and lively, it is also weary and uneasy in tone. A rousing final section leads to a quiet, fading coda, as the life in the music is gradually exhausted. Dedicated to Mozart
Two contrasting pieces, one melancholy the other frisky and dynamic.
Programmatic piece, lyrical and dynamic for a versatile performer.
A lively and challenging piece for an unusual combination, well received on its inaugural tour for Chamber Music NZ.
Rites of Passage was commissioned by Chamber Music New Zealand and composed for Divertissiment, for their New Zealand tour in 2005. It is scored for bassoon, 2 violins, viola, cello and double bass, and is in one continuous movement.
Dedicated to Divertissiment: Preman Tilson (bassoon), Vesa-Matti Leppanen (violin). Rebecca Struthers (violin), Andrew Thomson (viola), Rowan Prior (cello), Dale Gold (double bass).
The piece is a relatively light-hearted reflection on the journey from birth through childhood to adolescence. It opens with birth-pains and a reference to Stravinsky's famous ballet, The Rite of Spring. This reference is a source of ideas for melodies and motifs that follow, filtered through the use of a magic square. The main theme of the first section is a quirky 12-note idea on the violin, followed by a more driving theme. A passage of plucked notes leads to another 12-note theme on bassoon. These themes are developed, and build into a wild dance, one of two dance-like passages in the work that owe a debt to Transylvanian folk music. They symbolize the life force that is only too apparent in young children.
The frisky, playful first section gives way to a short bassoon solo, leading to a slow middle section, marked 'mesto' or sad. A simple idea on the strings reflects a sense of loneliness, reinforced by bassoon melody that follows. A short double bass solo near the end is rudely interrupted by the opening of the third section, and a brief introduction leads to a lively 12-note theme on the violins. This toccata-like section is highly energetic in character, and includes a long-range accelerando in the dance passage. When the main theme returns it is abridged and channeled into a short, changeable coda.

Wistful and lyrical piece for violin and piano.
Two contrasting and colourful pieces aimed at about grade 8 level.
These duets are for 1 piano, 4 hands.
Three lyrical pieces with a relatively simple guitar part.
These three songs, written for school choir, reflect the strong and beautiful images created by the New Zealand poets Apirana Taylor and James K. Baxter.
These songs have parts for sopranos 1 and 2, and altos 1 and 2. The heavenly miracle and a great seamstress include parts for piano,
while High Country Weather is for unaccompanied choir.

Angular exciting piece for piano quartet.
Oppositions was composed for The New Zealand Piano Quartet, for inclusion on a CD of the composer's chamber music, released by Kiwi-Pacific Records. It is in one movement, and is based around the idea of opposing forces, whether they be literal or imaginative. In musical terms, the piano is frequently pitted against the strings, while musical themes seem to jostle for supremacy.
After a short and ominous introduction, the strident first theme is played on violin, accompanied by hammered chords. A second theme has all three stringed instruments playing in 'cluster' harmonies. The cello announces a lyrical but turbulent idea, and this is played in counterpoint with the first theme.
The piano is to the fore in a third theme, which is stealthy and marked by sudden outbursts.
These themes are discussed in a middle section that gradually winds down to very soft, thudding chords, before building up to a vigorous return of the opening. In this final section themes are fragmented and tossed around violently, before a brief Coda in which the first theme appears dominant.
Two reflective songs using recently written poems by Cilla McQueen
These songs were commissioned by and written for Geoknil Biner-Meyer and Tom McGrath, as part of my work at the University of Otago. Initially, Cilla McQueen offered me the poem 'Bluff Pantoum' to set to music. After the commission from Geoknil and Tom I requested another pantoum from Cilla, and she obliged with 'Mining Lament'. A pantoum has 4-line stanzas, rhymes, and repeats lines in the following pattern:
A B C D B E D F E G F H G I H J etc
The poem Bluff Pantoum was written in 2003 for a friend of the poet's, to give to her husband on her birthday. It draws on images of the sea which dominate the environment of Bluff, in Southland. Mining Lament (2004) bemoans the destruction of a "golden hill" in Riverton, Southland, by sluicing.
An evocative piece for solo trombone and brass band. Written for Dave Bremner and the National Band for the World Champs 2005.
The starting point for this piece was some dramatic cloud formations I experienced while in Morrinsville, near Hamilton. It was a brilliant sunny day, with occasional huge and interestingly shaped clouds floating past. They provided inspiration for the opening texture for my piece Clouds, which is flowing and slowly unfolding in character.
Clouds can assume many different shapes and characters and this is reflected in my piece. There are stormy ideas with strong rhythms, jagged ideas built from small motifs, mysterious ideas that suggest darker clouds, bright climaxes that suggest the sun bursting through.
The solo trombone is like a small aeroplane, weaving its way through the clouds and enjoying a rather turbulent journey. Its part is soloistic but integrated into the band texture and often underpinned by the percussion, who have an important role in sustaining the momentum of the piece. Near the end the soloist has a brief cadenza before the music rises to a rumbling climax. This passage finally disintegrates, as the clouds disperse.
Bele Doette is based on a 12th century chanson. The oboe part freely develops motifs introduced by the soprano.
Bele Doette ('Lovely Doette') is based on an anonymous 12th century Chanson de Toile. The vocal line follows the original song-line closely for two of the eight stanzas and refrains. Doette is at a window, reading, when she receives the news that her friend Doon has been killed in a jousting contest. The refrain reads "See now what grief I have", and at the end she vows to become a nun in the church of St Paul.
The original transcription of the song is published in the Anthology of Medieval Music, edited by Richard Hoppin (1978). Pitches are notated in the transcription but no rhythm. Therefore, rhythm is freely interpreted while the original melismas and word setting are maintained. The refrain is expanded beyond the original.
The oboe has a dual role. First, it freely develops motifs based on the song-lines by a process using magic squares. These motifs are used in the introduction and interludes between stanzas and refrains. Second, the oboe has a dialogue with the soprano that involves imitation and decoration, particularly in the refrains.
Bele Doette was commissioned by Pepe Becker, and written for her and oboist, Robert Orr. It has been composed as part of Ritchie's research at the University of Otago.

Simple, lyrical piece written for my wife and first performed on our wedding day.
An opera in two acts, with libretto by Jeremy Commons, based on the novel by Ian Cross. Designed for an intimate theatre, with the voices accompanied by a chamber orchestra.
In 2001, my old composition teacher and mentor Dorothy Buchanan informed me she was starting on a new opera based on The God Boy by Ian Cross. What a wonderful idea, I thought; I wish I had dreamed up that one. The God Boy had long been a favourite novel of mine, and the version for screen was of my favourite films. Six months later, I had a phone call from Dorothy, offering to hand over the libretto to me if I wanted it. She had found the story too dark to deal with, and wanted to give someone else a chance to write the work. I was overjoyed to have this opportunity. Librettist Jeremy Commons bravely agreed to the change in composer, and I started work.
I was keen to write this opera for several reasons. First and foremost I have always found the story to be deeply moving, especially the terrible contrast between innocence and adult realities. Having being brought up a Catholic I still remember hoping, as I read the novel, that Sister Angela would put things right for Jimmy. But, of course, sometimes things cannot be put right, and Jimmy is left scarred at the end of the story. For me, this story represented part of my own 'growing up'. The drama of the story, beautifully condensed in the libretto, is appealing for a composer. There is plenty of scope for strong musical gestures and colourful scoring. Finally, this was my first opportunity to write a full-length opera with larger resources involved, and I was thrilled when Opera Otago offered to mount a production.
The opera uses musical motifs associated with the main characters, Jimmy, Mr and Mrs Sullivan and Molly, as a structuring device. It is through-composed rather than following the pattern of recicative, aria and chorus, although there are passages of recicative-like singing, and even speaking. Sometimes scenes are bound together by particular forms, such as the passacaglia (repeated bass melody) when Jimmy and his mother say their farewells, near the end. Three hymns from my Catholic past are used in particular scenes, for added meaning: Glory be to Jesus who in bitter pains (scene with Father Gilligan and Sister Angela), The Lord's My Shepherd (scene with Jimmy and Sister Angela, where Jimmy says he's a 'god boy'), and Soul of my Saviour (final chorus). Other melodies and harmonies derive from these hymns throughout the opera.
I was fortunate to have a sympathetic librettist in Jeremy, who conceived his script in terms of music, and allowed me to make changes where necessary.
The God Boy was premiered in Dunedin on October 1st, 2004, and ran for 4 nights as part of the Otago Festival of Arts. The composing of the music was completed as part of Anthony Ritchie's research at the University of Otago. The studio recording was funded through a Humanities grant from the University.
A series of three connected songs which set poems by Cilla McQueen
Three songs which attempt to describe thoughts and feelings of a woman grieving for her dead husband.
The style of the songs is intimate and aims to exploit the beauty of the voice to evoke feelings.
More info, and to purchase . . .

The work uses a variety of special effects, influenced to some degree by the Tui. It has a quirky character with rapid ideas juxtaposed with moments of silence.
Quartet is a chamber opera for 4 singers with string quartet, performing on-stage. It can work with or without a conductor.
Quartet is a comic chamber opera, based around the trials and tribulations of a touring string quartet. The action is set on the West Coast of NZ, before moving to the capital, Wellington, for the tour finale. The seven scenes are continuous, and explore the relationships of Penelope and Buddy (New Zealanders), Nadezhda (a moody Russian violinist) and Julian (a new-age American cellist).
The work was commissioned by The International Festival of the Arts for performance in its 2004 festival.
Timeless Land can be performed as an orchestral piece alone, or in conjunction with a film by Natural History NZ and readings of texts by Brian Turner and Owen Marshall.
Central Otago holds a special place in the hearts of many people. This is clear to see in the wonderful book called Timeless Land which combines the paintings of Grahame Sydney with the writings of Brian Turner and Owen Marshall. We decided early on to focus on the Maniototo, which is Grahame's spiritual heartland and which has inspired so many of his great works. For me the Maniototo suggests a variety of feelings: awe at the expansiveness of the land and the surrounding ranges. There is the exhilarating beauty of the different seasons: the Autumnal colours for instance, or the bleak Winter images.
There is the strange sense of freedom and escape that one experiences driving through the Maniototo. There can also be an overwhelming sense of loneliness, and feelings of insignificance when placed in such a vast, un-peopled landscape. Then there are the reminders of human impermanence, with decaying and abandoned structures, old graveyards and memorials. The Maniototo will mean different things to different people, but in this work I have tried to portray it in sound, as I feel it in my heart. So the music is not simply descriptive, or impressionistic; it also reflects human moods and emotions.
While the music is designed to be combined with images, it can also stand alone. There is a loose symphonic structure in the four movements, with recurring themes and motifs. Most significant of these are the opening cornet melody, and an assertive cornet call that first appears in the middle of the second movement. This cornet call has a vague connection with The Last Post, and becomes a reminder of death in the third movement. Most themes and ideas in the music derive from the manipulations of a 5-note motif, using magic squares. The 5-note motif, which is never openly revealed in the piece, comes from a short Magnificat, composed at the time of my mother's death in 2001.
This work consists of four short pieces in contrasting moods, for professional performers
Four Bagatelles was commissioned by Arnold Marinissen for performance by himself and his wife Liesbeth Kok. They explore aspects of children's behaviour, as exemplified by the composer's daughter, Annabelle.
Much of the thematic ideas are derived from a short 'Annabelle' motif (A-B-E-E), which is heard at the beginning of the work. The movement titles are:
It was first performed by Arnold and Liesbeth in November, 2003, in the Southern Sinfonia rooms.
This work is in four movements and is designed for professional players.
Melodic ideas and motifs are derived from a magic square by Renaissance artists Albrecht Durer, which appear son the woodcut called 'Melancholia'.
The first movement is energetic in character, while the second is sad and melancholic, with a slowly rocking idea being suggestive of a lullaby. The third movement is obsessive in rhythm, with a gentler contrasting middle section. After a reflective opening, the finale burst into a rustic, dance-like mood. Towards the end, various motifs from earlier movements are integrated into the texture and the work ends with a flourish.
This is a substantial, yet approachable work for professional musicians.
This Magnificat is a relatively simple setting, designed for liturgical use, and using the Latin text. It was originally scored for male voice choir, with trebles and male altos, but works well with womens voices.
This is a short but quite challenging choral work, recalling the sinking of the Cook Strait ferry.
These 24 Preludes for piano represent a new direction for the composer, and are challenging to play. They cover a wide variety of moods and characters, paying homage in places to Bach, Chopin, Debussy and Shostakovich.
It is impossible not to feel inspired when playing some of Bach's 48 Preludes and Fugues, Chopin's 24 Preludes, Debussy's two books of preludes, or Shostakovich's 24 Preludes and Fugues. As a composer I wanted to make a small mark of respect to these greats with some dedications. I have also taken a cue from Bach and Shostakovich and included contrapuntal forms within these preludes. While not wanting to restrict myself to the form of a fugue, there are several preludes which are close in spirit to fugues: Nos.17 and 19 for instance, are what I would call my 'prelugues'. There is also a passacaglia (No.16) which owes a debt to Shostakovich.
I have conceived these pieces as a unified whole. Within them I have attempted to cover a whole variety of characters and moods, from the improvisational and experimental to the lyrical and gentle, from the wild and gestural to the calm and peaceful, from the quirky and 'black' to the light and sunny, from the depressive to the resolved.
The extensive technical planning and preparation behind these pieces has been fun for me as the composer, but in the end it is the sound and musical expression that matters. I would like to think this voyage of discovery has led to something new and interesting to listen to.
This work was a finalist in the SOUNZ Contemporary Award for 2001, and signals a new direction in the composer's style, using 12-tone rows for the first time since student works.The Piano Trio is in three movements.
The score for this work can be purchased from Wai-te-ata Music Press
I got to know Euan Murdoch both as a friend and as a musician when he came to Dunedin to teach cello at the University some years ago. Everything about Euan encouraged me to write him a piece: his lively and warm personality, his huge enthusiasm for music and his brilliance as a player, plus a certain down-to-earth Kiwi quality that is refreshing to encounter within classical music circles. Having composed 'The Blue Sonata' for him in 1999, I was approached by Euan to write something else. He had moved to Wellington for a job at Victoria University, and wanted a piece for Trio Victoria. I relished this opportunity to compose again for Euan, and for the others in the group, Doug Beilman and Thomas Hecht.
During 2000 I came to the conclusion I needed a substantial break from composing, due to what might be termed creative 'burn out'. I also wanted the time to reassess the direction I was heading with my music. Consequently, the trio commission arrived at a time where I felt the urge to experiment and come up with something a little different. Having said that, there are connecting threads with earlier pieces, particularly my Symphony No.2 which was premiered at the Wellington Arts Festival in 2000.
Piano Trio was commissioned by Chamber Music New Zealand, with funding provided by Creative New Zealand.
This Piano Trio attempts to suggest psychological states through sound images. It is not directly programmatic but, as the titles of the movements suggest, there are distinct ideas and moods imbedded in the music. The first movement uses imaginary characters from childhood - 'Maggie Boy' and 'Nice Boy' - as representations of two sides of personality: the bad and the good, or the dark and the light. 'Maggie Boy' has music that is barbarous, angular and dissonant. In the opening section a 12-note theme appears, providing the basis for much of the material that follows. Following a metric modulation (or change in note values) the violin and cello play a wispy, lyrical theme that portrays 'Nice Boy', while the pianist's right hand tinkers away with 12-note themes, impervious to the sentiments of the strings. 'Maggie Boy' returns in the final section of the movement, dispatching 'Nice Boy' to the recesses of the mind.
The second movement, 'The Deamon', is concerned with neither good nor bad but rather the nothingness of depression, that caged state of mind where emotions and feelings seem to spiral inwards. Melodic lines twist and turn, trying to find a way out of the psychological cage. Reference is made to the 12-note theme from the first movement, as well as the 'life and death' theme from my Symphony No.2.
The third movement, 'Hyper-dyper' is, as its title suggests, ebullient and almost frantically busy. An angular and jazzy opening theme is followed by a nervous, darting second theme featuring some special effects on the strings. The piano rudely interrupts proceedings and a playful but tense middle section follows, based on the 12-note theme from the first movement. In the Coda the 'hyper' quality dominates and the Trio comes to an end on a crunching discord.
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.
A lively selection of folk songs collected by Bartok, arranged for school orchestra (secondary, though a good primary school orchestra could play it). More challenging parts for solo violin and piano.
In six sections, this tuneful piece is designed for school performers, and explores different styles of dance music around the world.
The music traces the South Canterbury landscape from the mountains, via rivers, lakes, over farms and the animals, to the sea.
Visions of Education is a theatrical piece, involving a mix of music, drama, singing and narration of texts. It was written for the 125th anniversary celebrations of the Dunedin College of Education.
This piece adopts a variety of styles from different periods in the 20th century. It is designed as a fun-piece for students, and has numbers that could be performed in isolation from the main body of the work.
An easy piece for school orchestra, with a catchy tune and colourful orchestration.
The four movements of this 'visual symphony' describe landscapes and wildlife in the deep south of NZ. The evocative music compliments the stunning film by Natural History NZ, but can also stand by itself as a concert piece. Southern Journeys plays in the 'Southern Land - Southern People' exhibition of the Otago Museum.
New Zealand's landscape has long been a source of inspiration for artists and composers. I was fortunate enough to have enjoyed frequent trips to the mountains when young, and I still remember them fondly to this day. I have written quite a number of works on the theme of New Zealand's natural environment. So I was very pleased to be asked by The Dunedin Sinfonia and Natural History New Zealand to compose 'Southern Journeys'.
After initial discussions in 1999, I was given freedom to come up with my own 'synopsis' for the piece. The music was to be written first, and then recorded by the Dunedin Sinfonia so that images could be put to the music. This was a considerable luxury for the composer, as normally the film is made first and later the music is written to fit the images. Natural History was insistent that I should compose my music without the restriction of specific images, and for that I am very grateful. Although 'Southern Journeys' is programmatic, I have attempted to incorporate a symphonic logic into the music. Themes are developed and transformed, and there is an element of cyclic form with the return of the opening theme at the very end of the work. Ideally, the music should be able to stand alone without film, and still make sense.
The first movement is subtitled 'Ancient South' and portrays southern landscape, particularly remote areas such as mountains and sounds. The land is constantly being changed by water, snow and wind, the most dramatic example being the effects of avalanches.
In the second movement, 'Southern Adventures', humans interact with Nature, at sea, in caves, on rock faces, in the air. Although these adventures are often difficult and treacherous, we feel exhilerated by this risky communion with Nature.
The third movement, 'Seasons in the South', begins with the stillness of lakes and forests in Autumn, and moves on to explore southern bird and sea life. Winter announces its arrival with a storm, followed by the thawing of snow and ice and the first signs of Spring.
The last movement, 'Our Place', explores our own environment and contrasts it with the natural enviroment we have witnessed in the previous movements. A note of caution is sounded: we cannot take the natural beauty of the South for granted. We have to respect and care for it, so as to maintain the balance between our needs and the needs of Nature. At the end of the movement a harmony exists between the beautiful aspects of a city like Dunedin and the natural enviroment.
'Southern Journeys' received financial assistance from the Millennium Fund and Natural History New Zealand
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.
I was born in Christchurch and lived the first 27 years of my life there. For most of those years I had no knowledge of Ngai Tahu or their history. I became fascinated by Maori beliefs during inspiring Religious Studies lectures given by Jim Wilson at Canterbury University, and launched into my own study of Maori music. But for all that, I had no real awareness of southern Maori. It is only recently that I have learned to say: 'Tena koutou katoa. Ko Anthony toku ingoa, ko John toku papa, ko Anita toku mama, ko Simon toku tungane, ko Judy ratou ko Jenny ko Liz oku tuahine, ko Sandy toku wahine, ko Tristan aku tama, ko Annabelle oku tamahine, No Otetahi ahau, Na reira, tena koutou katoa.'
It was tremendously exciting, therefore, to be asked to write music for a work celebrating the anniversary of the arrival of the settlers in Otetahi. Here was a chance to be involved in an exploration of the distant past: Ngai Tahu's own arrival in the South Island, pre-dating the English settlers by many years. Reading Te Maire Tau's account of Moki's life and the surrounding history opened up a whole new world to me. This was history full of conflict and struggle, passions and rivalry, and an inspiring source for a composer.
Another exciting dimension for me was collaborating with Keri Hulme. I have long admired her writing since reading The Bone People back in the late 1980s, and setting her poem He Moemoea to music. To be honest, I wondered how Keri was going to condense such a complex history into a libretto. Her solution, to have Moki on his last day on earth remembering back over the significant events in his life, was ingenious and worked very well in terms of the musical genre.
Much of the music is concerned with characterisation. The forceful and head-strong character of Moki is depicted by the orchestra early on. He is a man of action, brave and capricious; much of the life-force of the music comes from his mana, resulting in plenty of driving rhythms. On the other hand, he can be sensitive as in his duet with Marewa, singing to their sleeping daughter. Moki's arrogance lands him in trouble with two chiefly sisters, who he has slept with. His foolish boasting is reprimanded by the chorus in 'The Words are loosed', where the insults are repeated for everyone to hear.
The orchestra and choir is sometimes used to colour the images in the story. Following the Karanga near the beginning, for instance, we hear the choir announce the rising of the sun, accompanied by blazing brass and cymbals. In Moki's opening song, the 'thin line of light illuminating the islands from the north to the south' is portrayed by florid lines on flutes, harp and celesta.
One of the interesting challenges in Ahua was to combine my music with music by Te Ari's Kapa haka group. This was made more difficult by distance: at present I live in Dunedin! There is a also a big difference between Classical music and Maori music, but it is interesting and worthwhile to discover things in common, and to celebrate the differences. I want to acknowledge my collaboration with Te Ari and Te Maire as regards the music for Ahua and thank them for their input.
This symphony explores the millenium theme from an historic and poetic angle. The 3 movements are energetic and demanding for the orchestra.
The three movements of the symphony are:
When asked to compose a work on the meaning and symbolism of the new Millenium I decided to use William Butler Yeats' famous poem "The Second Coming" as a starting point. Written in 1921, when the old order in Europe was breaking down, it suggests a revolution or rotation in history (the gyre) will bring about a 'second coming' of an important historical figure, and the dawn of a new Millenium. Yeats' vision of the new world order to come is not, however, optimistic. He sees the coming of a 'rough beast' with a 'lion body and the head of a man', a cold and heartless creature that might be equated with certain infamous and autocratic leaders in the 20th century.
The 'gyre' or revolution is represented in the symphony by a rolling, sliding timpani sound, accompanied by bass drum and tam tam at the start of the work. This idea becomes an important motif and appears at the very start. Following the 'gyre', we hear a 'life and death' theme that begins like a cradle song (the birth of Christ), rises, and then twists downwards in a chromatic line. This theme provides most of the material for what follows.
The slow introduction climaxes with hammer blows, a reference to the death of Christ. From this a trumpet call emerges, becoming a significant motif later in the movement.
In the allegro that follows, the 'life and death' theme is transformed into a fast and restless melody, beginning as pizzicato on the strings. Complimenting this is a macabre and folky theme on muted trumpet and clarinets, evoking a sort of frenzied, gyrating dance. The music quietens and a lyrical theme appears on flute, accompanied by timpani and harp and developed by the strings. As the music climaxes again, the trumpet call reappears, shared around other brass instruments. The significance of this trumpet call can be seen with reference to another poem, this time by New Zealander Peggy Dunstan:
The trumpets distract the listeners, and make them unaware of the advancing enemy. Dunstan's poem goes on to describe a massacre of Serbs in 1389 at the time of the battle of Kosovo between Serbs and Turks. At the time of composing my symphony Kosovo was once again in the grip of war and atrocity, only this time the Serbs were the aggressors and Albanians were the victims. It seems to me that Kosovo sums up a situation common in our past Millenium: an endless cycle of struggle for land and power, costing many innocent lives.
In the music, the log drum heralds a sort of 'musical battle-field' in which the 'life and death' theme becomes an aggressive, jagged idea, used fugally in an increasingly dissonant texture. Following the 'battle', solo strings, piccolo and harp provide a brief lament for the dead and the music returns to the music of the Introduction. This time it is mixed fragments of the flute theme, and the movement ends quietly with the 'gyre' motif.
If the first movement represents the past, then the second movement is a comment on the present. The title 'Mi-1st' refers to the heavy emphasis on the note E (or Mi in the sol-fa system) as a central pitch, but can also be interpreted as 'me-first'. Essentially this music is about the natural human tendency to be self-centred, which I believe has become much more prevalent in our own society. It is perhaps one aspect of Yeats' 'rough beast' that hinders our progress.
There are three main ideas in this presto movement. The first is a savage chromatic theme that encircles the note E, played initially on strings. It is immediately followed by a vigorous, syncopated theme on strings and winds. As a contrast, the harp accompanies a quieter, smoother theme on the violins, which also includes the twisting, chromatic motif from the first movement. In the middle, the music becomes increasingly chaotic until a climax on C is reached, with hope for resolution to the discords. However, the music slips into the key of B, and the strings play a restless, anxious version of the contrast theme. The frenetic energy of the first part gradually dissipates, and the movement collapses into a web of solo violins. The 'gyre' motif has the final say.
There are a number of themes in the third movement, but all evolve in some way or other from the constantly twisting, turning melodic line that appears at the start. Used in close canon, this melody represents the intertwining DNA molecule, and hence the title of the movement, 'Double Helix'. Discovered recently in our history, genetics are sure to have a highly significant role in the future. This music looks forward with the hope that genetics will be used in a positive way. It also acknowledges that we carry with us the characteristics of previous generations (covering a whole Millenium and more!), and that the future will be significantly shaped by these characteristics. At the same time we need to learn from the hard lessons of previous generations in order to make progress. Consequently, the symphony has an optimistic and celebratory end, which is tempered by a sense of warning. In the coda, the threads of 'Double Helix' motifs are combined with a return of the main theme from the first movement, played on full brass.
Dedicated to Sandy
Simple pieces describing memories of Caroline Bay in Timaru. Four pieces, for younger pianists, about grade 3-4.
Caroline Bay Suite was commissioned by the Registered Music teachers of Timaru. There are four short pieces:
The slow movements explore issues of life and death, while the two quick movements provide an energetic and bright contrast. The wide range of both solo instruments is explored.
The Double Concerto was commissioned by Andrew Uren (bass clarinet) and Katherine Hebley (cello) with funding from Creative New Zealand. It was designed to explore the unusal combination of solo instruments, extend the soloists and, at the same time, be performable by regional orchestras.
The opening movement has a lilting quality and is based on the Brahms' lullaby, which only appears (abridged) at the end, played on glockenspiel. The three themes that appear in this movement are related, in some way, to this lullaby. The movement is dedicated to my daughter Annabelle, who was born some months before the composition of this work. A short melody based on letters from her name (A-A-B-E-E) is played by the soloists in the coda.
By contrast, the second movement is fast and jagged, with a somewhat playful second theme shared between the soloists and woodwinds. The main theme has a toccata-like quality, and builds up to a strong conclusion.
Whereas birth was the theme behind the first movement, it is death that concerns the third, and in particular the sudden death of a close friend and musician, Angela Campbell, at the time of writing this concerto. It is an intimate piece for the two soloists only, and based on letters from Angela's name (A-G-E-A) which are heard at the beginning as a recurrent bass line. The cello melody at the start is a variation on a melody from the first movement, suggesting birth and death are inextricably linked.
The mood lightens in the finale which is a slightly bizarre waltz based on two contrasting themes. Near the end, the soloists have a cadenza which flows into the coda uninterrupted.
This colourful piece is programmatic, describing the eruption of Mt Tarawera in 1886 and the destruction of the famous Pink and White Terraces. A challenging piece, composed for NZ organist Martin Setchell who performed it during his 1999 world tour.
This piece was inspired by the famous Pink and White Terraces in New Zealand which were destroyed by the eruption of Mt Tarawera in 1886. The Pink and White Terraces were huge naturally occuring staircases, created by deposits of silica in crystallised form over many centuries. People came from all over the world to view the terraces, described as the eighth wonder of the world.
According to legend, there was a premonition of the disaster in June, 1886. While travelling across a lake near the terraces, some tourists and their Maori guide saw a mysterious canoe of Maoris nearby. They disappeared and were never seen again, and no reasonable explanation could be given for their existence. However, some local Maori took this 'spirit-canoe' as an omen. They were right. Before dawn the next day, Mt Tarawera erupted for five hours, destoying the Pink and White Terraces and killing 153 people. It was New Zealand's worst volcanic disaster of recorded times.
This organ piece attempts to incorporate elements of the story into its musical gestures. The big opening chords describes the might and force of Mt Tarawera. Then follow two quieter ideas, interrelated, which portray the gently bubbling beauty of the 'White Terrace' and then the 'Pink Terrace'. The eruption is heralded by low thundering trills on the pedals and sweeping upward runs on the keyboard. The main theme that follows is toccato-like and conjures up visions of wild panic among the people. This theme reappears on full organ at the climax, and the music gradually subsides. The Tarawera chords from the beginning return like a solemn chorale for the dead, and the music drifts off into the distance, like smoke from the crater.
Pink and White was commissioned by Martin Setchell with funding from Creative New Zealand, and was composed especially for the new Christchurch Town Hall Rieger organ. The composer is indebted to Martin Setchell for his advice and help with scoring for the organ.
'Coming to It' was composed with Sam Hunt's performance poetry in mind (although the work can be played with other speakers). The piece runs without a break, with the poems separated by musical interludes of varying length. Of necessity, the music simplifies when the poems are being read, and becomes more prominent when the speaker is silent. Ideally the music can stand alone, but obtains its full intensity when the poems are present.
I have long enjoyed Sam Hunt's poems, and fondly remember him performing when I was a student (and more recently, too!). So I was excited when asked by the Wellington Sinfonia to write music to go with a reading from Sam. As part of the process, I got to visit Sam on Waiheke Island and we mulled over which poems to include in the piece. It seemed to me we had a lot in common as far as the world of music and poems was concerned. We both wanted to avoid academic pretension, and create a piece that speaks from the heart about everyday issues that concern ordinary people. So there are poems about mothers, fathers, lovers, children and also dogs. They touch on life and death, and the little incidents inbetween that on the surface seem insignificant but take on meaning for those involved.
Sam kindly agreed to record the poems for me, so I could keep the sound of his voice in my mind while writing the music. This also allowed me to get an approximate timing for the poems, so I could structure the music around them.
The music is, I hope, multi-purpose. Sometimes it simply sets the scene for the poem, as in the opening poem Coming to it. Other times I have tried to emphasise a particular mood suggested in the poem, such as the moving acceptance of death in Hey Minstrel, or the momentus appreciation of birth (as well as death) in Birth of a Son. Reference to a blues-based style seemed to work with the Plateau Songs, while there are elements of folk-song in A White Gentian, where the guitar and flute play a duet. Occasionally there is musical description of the text, such as the percussive, migraine-like qualities in You House the Moon. But above all, I want the combination of music and Sam's poems to create a unity, a sound-world that is new and interesting. Obviously, Sam's poems and his performance of them are perfectly capable of standing alone, so the music aims put them in a different light (and sound).
The piece runs without a break, with the poems separated by musical interludes of varying length. Of necessity, the music simplifies when the poems are being read, and becomes more prominent when the speaker is silent. Ideally the music can stand alone, but obtains its full intensity when the poems are present.
A challenging cello solo which encompasses a variety of moods. It was composed for a friend's wedding, for performer Euan Murdoch.
A substantial work for cello and piano, which explores a range of emotions and moods. For professional players.
for Cello and Piano
The Blue Sonata, for Cello and Piano was commissioned by Euan Murdoch, with funding from Creative New Zealand, for performance by Euan and pianist, Terence Dennis. It is in four movements:
Dedicated to Euan Murdoch
This work is re-arranged from the dance work 'Concertina' (opus 89) written for Dan Belton. It is in six movements: slow dance, quick dance, whales, sad dance, scherzo, gig. A lively and varied collection of pieces, suited to professional performers.
A continuous work which explores folding movements among other dance themes. There is a colourful variety of music, ranging from the mysterious and dark opening section, to the obsessive gig towards the end.
Dance music for violin, piano, squeezebox and percussion
Concertina was commissioned by choreographer Dan Belton to be the sound track for a dance film. It can be performed live as well, in part or in its entirety, though some effects are better achieved through the recording. The work is in nine sections which run continuously.
This work was composed for violinist Paula Smart and pianist Terence Dennis, who first recorded the work in March 1999.
A strong and punchy song for mixed choir, built on old New Zealand texts. This would make a good opener to a concert.
Welcome! is based on two Maori texts. The first is a Karanga (a song performed on the marae to welcome or farewell visitors), recorded on October 7, 1963, at the annual celebration of the coronation of King Koroki, at Turangawaewae, Ngaruawahia in the Waikato:
Mai raa ngaa iwi i te raa, e haere mai! . . . Welcome to the tribes today, Welcome!
The second text is a Maori 'Charm' which first appeared in A.S.Thomson's The Story of New Zealand (London, 1859), and has been recently published in 100 New Zealand Poems, chosen by Bill Manhire (Godwit Publishing, 1993). A.S.Thomson wrote about the poem: "The Hawaiki fleet reached New Zealand when the pohutukaua (sic) and rata trees were covered with blossoms. It was consequently summer, and the emigrants, like the survivors of a wreck, scattered themselves over the country. To appease the spirit of the land for their intrusion humiliating prayers were said; one uttered by a chief on this celebrated occasion is still preserved as a modern charm":
Welcome! was commissioned by the New Zealand National Youth Choir with funding from Creative New Zealand
A very active and exciting centre section framed by two slow and reflective sections, evoking sound pictures from the composer's stay in the Hungarian capital. Written for professional performers.
Designed for easy learning, this song is like an Irish gig, folky in places but essentially modern. Pianists need to be grade 8 or above. Originally written for various groups to sing, it can, nontheless, be sung by one single, mixed choir.
Poem by Bub Bridger for mixed choir with optional trebles and piano (4 hands)
Bub Bridger started writing poetry after visiting the river which Douglas Bridge spans in Northern Ireland. Johnny Come Dancing was one of her first poems and tells the story of a man's magic encounter with fairies and his subsequent emmigration to New Zealand. Johnny in the poem was, in fact, Bub Bridger's father, and she assures me the story is true. The combination of magic and music in the poem appealed to me greatly, and made me want to set it for this commission. The song uses Irish dance rhythms to underpin the largely modal vocal lines. The third verse adopts a different style, however, with reference to the old-style 'glees'(male part-singing). In the end, the dance rhythms return to drive the music to a climactic ending.
Commissioned by The New Zealand Choral Federation (Otago Branch) for performance at its annual conference in Dunedin, July 1998
A dark and vivid work exploring the theme of searching. It provides plenty of instrumental solos but is never too demanding, technically.
A reflective series of pieces for piano, including a sad waltz, composed for choreography by Dan Belton.


This vivid and exciting piece is based around a 'khosid dance' from Transylvannia. Both violin and piano parts are demanding.
Inspired by a near-death experience, this tone-poem is full of colourful musical images and sharp contrasts of mood. It is sharp-edged in tone and challenging in performance.
What happens to us after we die? This fundamental question has haunted human imagination for thousands of years. Many recorded accounts of 'near-death' experiences from all over the world provide evidence that human consiousness remains active in the time immediately following death. These independent accounts describe similar events: the person (or 'spirit') floating above their dead body, the appearance of a great light, being told to go back, and so on.
In 1959, Gina Baxter-Leipolot underwent an emergency operation, was in a coma for three days, and was not expected to recover. During this time she had a 'near-death' experience in which she was drifting above a Mediterranean coastline. She heard music, such as the "velvet sound of of violins, underbroken by a sound like mandolins" and "a humming sound, building up in force like thunder". Gina remembered the music after she recovered from the coma and twelve years later she wrote the music down in a basic form, with the help of a retired music examiner, John Chew. She called the music 'Revelations'.
Having been stirred by Gina's story and other 'near-death' accounts, I decided to base my orchestral piece loosely on 'Revelations'. Gina's music only appears in the coda of the piece, played on celesta and harp. It is fragmented and interspersed between large orchestral gestures that depict shafts of light.
Revelations begins with human suffering, symbolised by an anguished chromatic motif on the violins. This is joined by ascending brass chords counterpointed against descending wind chords, as the 'spirit' floats out of the body. With the entry of the harp the music becomes ethereal, and the flute plays a sinuous, floating melody. A sinister idea is heard on low clarinets, based on the ascending chords. Following development of these ideas it is the piccolo's turn to play above the harp, as the 'spirit' floats even higher over the sea (symbolised by a static chord, C-D-E). The music gathers in intensity and at the stroke of a log drum the strings play a fast and dynamic fugato. This section is turbulent and spiralling, and uses elements from the slow section: the piccolo theme, the low clarinet idea, acsending and descending chords, and thick 'cluster' chords. Resolution is only found at the start of the coda, where the strings play the static chord C-D-E, and the brass and winds play joyful versions of earlier motifs. Gina's music then appears, and the piece is rounded off by a blaze of light. To quote Gina: "Don't be afraid of death."
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.
Listen to performance Milking at Dawn
From the Southern Marches was the brain-child of George Griffiths, historian and owner of Otago Heritage Books in Dunedin. He writes:
'For many years I'd pondered the nature of the southern region and the people who live in it - particularly the contraditcory characteristics passed on from our Scots forebears, with their unrelenting capacity for hard work and their uncertain trust in the rewards to be gained from it. in a broader view, it seemed the development of a southern character was story so rich in human spirit and diversity that it demanded some kind of expression.'
The 'kind of expression' depended very much on George's choice of texts which come from a wide variety of sources, ranging from old Maori chants to more recent poetry. The work progresses more or less in a chronological manner, but avoids becoming a potted history of the south. Each text from each particular era focusses on a special characteristic of the time - whether it is the reckless optimism of the gold miners in the 1860s, or the grim reality of the needle-workers in the 1880s who were virtual slaves. George has drawn on a rich variety of ideas and texts, so that more serious items are contrasted with humour, as in Thatcher's 'The Old Identity' or 'King' Dick Seddon's political speech. Some items involve text with existent tunes, and the music becomes an arrangement (as is the case with 'The Old Identity'). Sometimes these tunes are just a starting point for lengthy elaboration, as in 'Bright Fine Gold', based on the tune for 'Hot Cross Buns'.
'From the Southern Marches' has a format that is similar to oratorio, with alternations between solo vocal items and choruses, with the addition of two purely orchestral sections. There is even references to the 'recitative' style in 'The Jubilee', 'Southern Education' and elsewhere. It runs to almost two hours in length, and is divided into two halves. Here are the individual sections:
PART ONE
PART TWO
This work was composed in 1997, and first performed in March, 1998, to coincide with the 150th anniversary of settlement in Otago and Southland. The performers on this occasion were The Dunedin Sinfonia under Nicholas Braithwaite, with the City of Dunedin Choir, Southern Consort of Voices, Southern Youth Choir, plus four soloists: Ana James(soprano), Deborah Wai Kapohe(soprano), Iain Fraser(tenor), and Jonathan Lemalu(bass). Such was the success of this premiere, From the Southern Marches was repeated in December of the same year, this time with Dobbs Franks conducting.
A commercial CD was released in 1998 using the live recording of the premiere. Copies of this are still available from the composer, or from Otago Heritage Books (500 Great King Street, Dunedin).
In 1998, Otago Heritage Books won a Special Merit Award in the National Business Review's Business Sponsorship of the Arts Awards.
A richly varied collection of pieces for solo violin, and also violin duos, composed for choregrapher Dan Belton.
Unlike most guitar concertos this one is scored for full orchestra and is large in scale. Requiring amplification, the solo part nevertheless holds it's own against the orchestra. Likewise, the orchestra gets a decent play in a work of sparkling colour and ideas
The Guitar Concerto was commissioned by and written for Matthew Marshall. Anthony Ritchie has written other works for guitar, including the guitar duet Pas de Deux (1992) for Matthew Marshall and Tony Donaldson. The concerto presented the composer with the added challenge of achieving a balanced sound-world between the guitar and the orchestra. Marshall specifically wanted full orchestral forces used, to move away from the usual guitar concerto scoring, involving reduced numbers and little brass.
This concerto attempts to explore the many aspects of the guitar's character. The first movement begins with a cool, languid theme that gradually opens out into a slightly bluesy idea. The second main theme is romantic in feel, with a hint of Brahms. In the middle section various motifs struggle for supremacy before a seemingly new theme (derived from the opening) appears on solo guitar. This new theme has a driving, determined quality and gradually builds up to a climax. A cadenza follows and leads into a new version of the second theme, transformed by assymetric rhythms. The music drives towards a climax and then fades as the guitar's opening melody is fragmented and dies, accompanied by celesta.
The slow second movement is intimate in mood, and opens with a long melody on the phrygian mode. The lyricism takes a sinister turn with the appearance of the piccolo and guitar, accompanied by basses. A relentless middle section follows, featuring a sonorous guitar theme that builds in intensity to a big climax. The guitar emerges from the wall of sound to close the movement quietly, briefly quoting from John Ritchie's Clarinet Concertino.
The third movement opens with heavy, pounding chords and a brass melody that recalls ancient Maori melodic patterns. As the energy fades, the guitar takes up one of the opening rhythmic patterns and transforms it into a percussive idea. Temple blocks, bongos and drums are added before the piccolo and clarinet introduce the main theme of the Allegro section. The full orchestra presents a pop-style theme followed by the guitar playing a motif in changing metres. These themes are varied through the movement, producing different musical characters, such as the jazzy section in the middle. The coda attempts to bring together the various melodic strands, and finally resolves the bi-tonal tensions that pervade the work.
Funding for the Guitar Concerto was provided by Creative NZ.
Expressive and reasonably taxing for the singer, these are settings of ancient Chinese love poems.
Commissioned by Bryan and Christina James for their daughter Ana's 21st birthday, and to be performed by Ana (soprano).
Total duration: 9 minutes
I am the North Pole - Tzu Yeh, 3rd-4th century.
I will swallow my tears - T'ang Wan, 12th century.
I saw your sigh - Anon. Yuan dynasty.
A humorous and quirky mini opera in which Armstrong and Aldrin find they are not the first to step on the moon. Fast moving and thought-provoking, this opera is quite accessible for good performers. Libretto by Stuart Hoar.
A Chamber Opera in One Act
Commissioned by The Pocket Opera with financial assistance from Creative New Zealand
Based on the first Moon landing, 1969, and Jules Vernes From the Earth to the Moon
Characters:
Duration: 15 minutes approximately
Intimate and expressive settings of poems by Lonie and Hall. Simple in textures but demanding in performance, and ranging in mood from the capricious 'Stone Woman' to the desolate 'Collection Day'.
Poems by Iain Lonie and Bernadette Hall
Commissioned by Tony Donaldson for performance by himself (guitar) and Robert Oliver (tenor) in 1997, with funding from Creative NZ.
Collection Dayand My Toaster Tells the Time come from Dunedin poet Iain Lonie's posthumous book Winter Walk at Morning, published by Victoria University Press.
Lovesong, Song and Tomahawk Sonnet are new poems, written in 1997 as part of Bernadette Hall's time as Burns Fellow at The University of Otago. Originally from Dunedin, Bernadette studied Classics under Iain Lonie at Otago University.
I have to thank two other Classicists with regard to the selection of these poems for setting: Andrew Barker who put me onto Iain's poetry, and Gail Tatham who recommended Bernadette's poems to me.

A setting of a poem by child poet Laura Ranger, capturing the clarity of a child's vision of the world. The music retains the youthful energy of Laura's words through vivid sound images. Written for professional performers.
Eight settings of poems by child poet Laura Ranger, capturing the clarity of a child's vision of the world. The music retains the youthful energy of Laura's words through vivid sound images. Written for professional performers.
Evocative piano music to accompany a dance choreographed by Shona Dunlop, and included in a TV documentary on her life.
for documentary on Shona Dunlop, entitled 'Out into the Blue'
Dance music for Sue Cheeseman.
Dance music for Footnote Dance Company and Shona Dunlop.

A simple and lyrical setting of Hone Tuwhare's moving poem. Originally part of the opera 'The Trapeze Artists', this song successfully stands alone in this version for baritone and piano.
This mini-opera explores the stages of a relationship, and is richly varied in tone and mood.
Characters:
Instruments:
Texts:
These settings are to be performed without a break. Organisation of texts, creation of characters, stage directions etc are by Louise Petherbridge, the director of the opera.

A short orchestral fanfare, describing the flight of the albatross, a famous resident of Dunedin Peninsula. It is light and frothy, and good for the opening of a concert.
Albatross in Flight for orchestra has been recorded by the NZ Symphony Orchestra and released on film by SOUNZ (The Centre for New Zealand Music). This lively short piece captures the movements of this most graceful of Kiwi flyers.

An approachable and evocative work, based on the landscape around Queenstown in NZ. This piece was written for a birthday celebration.
Whakatipua for string quartet was commissioned by Morgan Jones as a surprise present for his wife, Pat, who was turning 60. The piece was first played at their wonderful home near Queenstown, on the occasion of Pat's birthday. It was written for a quartet then resident at the University of Otago Music department.
The piece is in a single movement. Slower sections at the beginning and end surround a main quick section. The piece evokes the mountain landscape around Queenstown, and also Morgan and Pat's place, which is called 'Whakatipua'. There are elements of folk music in the piece which is characterised by open-sounding sonorities. It is reasonably challenging for the players without being too demanding.
In 3 contrasting movements, this piece contains a mixture of lively, bright ideas and more soulful ones. It was recorded in Paris onto a CD Diversions:Autour du hautbois, featuring Marika Lombardi, oboe, and Debra Takakjian, piano.
This sonata started life as a concerto for soprano saxophone, and was commissioned by New Zealander Mark Hobson with financial assistance from the Arts Council of New Zealand. Ritchie transcribed the work for oboe and piano in 2002, but the sonata had to wait until March 2010 for its premiere. It is in one continuous movement, divided into three main sections.
The first section has a cartoon-like character: it is cheeky, changeable and light in spirit, but has darker elements as well. The fast tempo eventually fades into a slow, lyrical section that features a soulful melody on oboe over slowly shifting harmonies. Here the mood is sorrowful and reflective. The third section opens with bold chords on the piano, before a wistful theme appears on oboe, in waltz time. The tempo accelerates and the music becomes agitated and driven. The waltz theme is integrated into this faster tempo leading to a cadenza-like passage towards the end, over a percussive piano rhythm. The sonata ends with a fragment of the oboe waltz theme, underpinned by strong piano chords.
A quirky but also soulful piece for an unusual and beautiful instrument. Reasonably easy to play.
Vivid and characterful music to acompany this Jacobian drama, and available on tape recording.
Easy singing parts with a basic accompaniment that evokes the ancient Greek style.
Easy singing parts with a basic accompaniment that evokes the ancient Greek style.
The characters in 'Star Fire' are based on those in the TV series 'Star Trek', and have proved popular with school audiences. The music requires a professional level of performance, and includes several ensemble sections as well as solo passages.
Star Fire was commissioned by Class act Opera for performance in primary and intermediate schools (up to about age 12-13). The performers themselves are of professional standard, but it is designed for a young audience.
The five characters are accompanied by piano:
It can be performed using a small, portable set suitable in schools.
The libretto by well-known playwright Stuart Hoar is quirky and pacey, and parodies those familiar characters from the TV series 'Star Trek'. Star Ship Kiwi has struck trouble and been forced to land on a alien planet. During their adventures, the irascible Dr Lantern Jaw is captured by an Android. The resolution of this predicament leads to an enviromental theme (power-saving).
The music for Star Fire is demanding, and avoids being condescending to children. It is through-composed, but also includes some extended solo passages and ensemble numbers. Stylistically, there are links here with the 'minimalists'.
Star Fire was first performed in 1996, and subsequently toured through New Zealand in 1998, with Class act Opera.
This piece commemorates the hardship of war through the example of Charles Upham. Its 4 sections include haka-like rhythms in the battle scene, the desolation of prison, a lyrical, pastoral section and an exhilarating finale as peace breaks out.
In 1995 I was approached by the NZSO to write an overture to commemorate the recent death of New Zealand's most famous war hero, Sir Charles Upham. Upham was famous for having won the Victoria Cross twice for bravery during World War II. He was, however, extremely modest when it came to discussing his achievements. Some years before his death it was suggested to Upham that he have a state funeral; he simply replied 'A bugle will do'. This comment seemed like a good starting point for my piece.
There are no bugles in the orchestra, but the opening section depicting the horrors of battle contains plenty of brass. Sub-titled 'Maleme and Ruweisat Ridge', the music is fast and furious, built from several motifs, and includes the opening rhythm for the most well-known Maori haka (war dance), 'Kamate, kamate'. The music builds to a climax, and the scene changes to a bleak Colditz Castle, where Upham was imprisoned during the war.
While in prison he dreams of rural NZ, and the farm near Kaikoura called 'Landsdowne', where he eventually settled after the war. This brief pastoral section links into a coda celebrating the outbreak of peace. Motifs from earlier in the piece return but changed into brighter modes.
A Bugle Will Do was first performed by the NZSO in 1996 under Andrew Sewell, and was subsequently performed in the USA.
This piece is a set of variations on the NZ folk song ' Down in the Brunner Mine', and is gritty and strong in tone. Suitable for A and B grade brass bands.
Down in the Brunner Mine was commissioned by The Onslow Brass Band in Wellington and first performed and broadcast in 1996. It is a short set of variations based on a New Zealand folk song called 'Down in the Brunner Mine'. The folk song describes the coal mine on the West Coast, near Greymouth, and tells of the disaster that occured there in the 1890s when about 60 men were killed in a mine collapse. Here is the first stanza:
The folksong tune is announced by the cornets at the beginning, playing in their low register, accompanied by heavy chords in the low brass. Variation 1 features a horn solo, and the cornets return for Variation 2, playing in fourths. Variations 3 and 4 are strident in character and feature short flourishes. The snare drum enters at the start of Variation 5 and the cornets play a punchy idea using repeated notes.
This idea returns in contrapuntal form in Variation 7, while the 6th variation inbetween features little fragments of the theme on various instruments. Variation 8 is powerful and buffeting, and uses the theme in canon. Variations 9-11 make use of the theme's arpeggio outline and the music builds to a climax.
Following this, the music gradually winds down in Variation 12, with the theme appearing in inversion against a repeated bass pattern. After a reflective silence, the short chorale-like coda rounds off the work, and is marked "in memoriam".
A collection of 19 songs for pre-school and junior school ages by Anthony Ritchie and Dunedin composer Graeme Perkins, with attractive and imaginative accompaniments produced by Paul Wheeler and Graeme Perkins on cassette tape. The song book includes the words only. Lively and colourful songs about many aspects of NZ life, including the popular 'Duck Shake'
A collection of 18 songs by Anthony Ritchie and Suzanne Court, aimed at pre-school and junior school age Lively and tuneful songs on the theme of NZ animal life, ranging from extinct moa to domestic cats and dogs. The recordings involve a colourful mixture of piano, guitar, synthesizer and various sound effects to enhance the images of the songs.
A collection of 18 songs by Anthony Ritchie and Suzanne Court, aimed at pre-school and junior school age Lively and tuneful songs on the theme of NZ animal life, ranging from extinct moa to domestic cats and dogs. The recordings involve a colourful mixture of piano, guitar, synthesizer and various sound effects to enhance the images of the songs.

A personal work in 4 movements covering a range of moods. The Sonata is adapted from the Concerto for viola and piano. There is also a piano reduction of the concerto, if performance with orchestra is the goal.
The Viola Concerto, from which the Sonata is derived, was written while Ritchie was Composer-in-Residence with the Dunedin Sinfonia in 1994, and first performed in Dunedin the following year, with Donald Maurice as the soloist. The solo part speaks in a natural and uncontrived voice, and consequently there are few shows of virtuosity in the concerto.
A personal work in 4 movements covering a range of moods. Lightly scored to let the viola speak.
The Viola Concerto was written while Ritchie was Composer-in-Residence with the Dunedin Sinfonia in 1994, and first performed in Dunedin the following year, with Donald Maurice as the soloist. It is a personal work in which the viola takes on various characters, and describes human relationships. The solo part speaks in a natural and uncontrived voice, and consequently there are few shows of virtuosity in the concerto.
The first movement, allegro tempestuoso, opens in turmoil and includes an idea inspired by one of Bach's Brandenburg concertos. A lighter, folk-like theme emerges and acts as a link to the second main theme which is cooler in mood and tinged with sadness. In the middle section a new idea is played on muted brass interspersed with a lyrical melody on viola. Themes are developed in the orchestra, reaching a climax and leading back to the home key of E. At this point melodic ideas are transformed by a downward, 'weeping' motif which appeared earlier on. This carthartic passage fades and the movement ends quickly, without resolution.
The long theme at the start of the slow movement began life as a solo piece, and unfolds slowly on the dorian mode accompanied by simple string chords. The stronger second theme on G has a determined quality about it. A lyrical third theme appears on the woodwinds and uses elements of the opening melody. Ominous rumbles in the bass signify the start of the middle section. A boisterous climax evaporates into the recapitulation, where the opening melody is varied with soft floating flutes and string harmonics. The third movement, a cadenza, follows and acts as a link to the finale.
Dance-like in character, the finale provides a resolution to the tensions of the previous movements. Some of the themes are influenced by popular music styles, and near the end there is a slightly slower section which recalls Bluegrass music; this was inspired by the American group, the Blue Sky Mountain Boys. There are three main themes in the movement, and these are combined in counterpoint towards the end. A long pedal note E appears in the Coda, over which the soloist plays a mock-heroic version of the second theme. This is brusquely swept aside by strident and jazzy chords, and the concerto comes to a conclusion.
For those without an orchestra to hand in the mean time, it is also available with piano reduction (contact the composer). An adaptation for piano and viola, The Viola Sonata Opus 64b, is for those who are never expecting an orchestra.
A setting of a powerful satirical poem by Jessie MacKay, describing events in Parihaka, 1881, when government troops forcibly took over a Maori Pa and sent many of its inhabitants to prison. A direct and strong setting, performable by soloists or by unaccompanied choir.
The Tuatara shakes off his passive past and moves to some contemporary dance rhythms. A lively and amusing piece, it incorporates elements of jazz and ethnic music alternating with the Tuatara theme, building to an exciting climax.
In New Zealand there has been a reluctance on the part of pakeha men to move to music. Perhaps it is our Victorian background that makes us feel silly and self-conscious when dancing. We pefer to sit back and be still, like the Tuatara. In this piece, the old reptile (Tuatara) shakes off his passive past and moves to some more contemporary-sounding dance rhythms.
The work is in a continous movement, divided into several sections. It opens with an ironical glance at the atonal past before flicking it away, like a fly. A jaunty 'Tuatara' theme is played on clarinet over bass ostinati, leading to a more vibrant and lively theme.
While the first section is earthy and physical in character, the second is a fantasy, full of ethereal images. The initial delicate waltz theme develops and grows into a more menacing idea, before fading back into the 'Tuatara' theme.
The rest of the piece comprises various dances that adopt certain styles: jazz, folky, rock. A gypsy-like theme combines with a version of 'God Defend NZ' in a section where pakeha men are on their feet! The finale uses log drum and Pacific Island rhythms to bring the piece to an exciting conclusion.
This is an evocative programmatic piece for orchestra, inspired by the tragic breaking up of Parihaka Pa in 1881. It is one of Ritchie's most widely performed works, and is suitable for both professionals and amateur ensembles. It has been recorded by the Auckland Chamber Orchestra on an Atoll CD (see recordings).
The starting point for this piece was a curiosity in the metal doors that covered the entrances to cells imbedded in the cliffs near Andersons Bay inlet, in Dunedin. A friend informed me that during the 19th century Maori prisoners were kept there at night, and worked on the Dunedin Harbour land reclamation during the day. Some of these prisoners were brought down to Dunedin from Taranaki in the North Island, as a result of the conflict in 1881 at Parihaka. Upon reading Dick Smith's book 'Ask that Mountain - The story of Parihaka' I learned of one of the most shocking incidents in our country's history.
The land wars of the 1860s provoked a new approach from Maori to the protection of their lands. Te Whiti, Tohu and their followers at Parihaka combatted the Pakeha land grab by organising passive resistance through a variety of means. In response to unauthorised land confiscation Te Whiti ordered the plouging of fields, building of fences and planting, all of which impeded the surveyors who wished to carve up the land for settlers. Many were arrested, offering no struggle, and soon prisons around the country were full. Despite the many injustices Te Whiti maintained his policy of passive resistance to the end. In November 1881, government troops entered Parihaka with guns and artillery. They were greeted by Maori women and children chanting songs, but no armed struggle. Te Whiti and Tohu were taken away, the Pa was broken up, and hundreds sent away to prison. Despite a Press blackout, two reporters were smuggled into the Pa, one commenting that "it was one of the saddest and most painful spectacles I have witnessed".
'Remember Parihaka' attempts to sum up my thoughts and feelings about the events at Parihaka. The slow opening is peaceful, like a sun rise, with melodic fragments that slowly unfold into a fuller, more passionate statement. Flutes and oboes announce a chant-like theme, based on an actual song composed at the time of the incident. This 'Maori' theme alternates with a more European-sounding theme on solo violin, accompanied by an Irish drum, the bowron. At the heart of the piece the various melodic ideas come together over a grinding, relentless bass, building to a climax. In the short postlude, the peace of the opening is suggested, but now it is tinged with sadness, and a slightly uneasy feeling.
This piece was written while I was Composer-in-residence with the Dunedin Sinfonia, in 1994. It was first performed in that year, under the baton of John Hopkins.
The title of this symphony comes from the ominous tam tam stroke that opens the first movement, a mysterious sound heard by two of E M Forster's characters in 'A Passage to India' when they investigate the Marabar Caves. This is a sound which symbolises the mysteries of life and death, although Ritchie warns us not to take it all too literally. "The echo is only a starting point to a general theme of human struggle. The listener can interpret the music in his or her own way."
The first movement opens sonorously in the tonality of G, pulsating chords leading us inevitably to the first main theme, a theme that Ritchie himself characterises as a "muscular, Bruknerian theme", although the momentum that it engages owes more to Shostakovich. A sinuous saxophone theme is very significant in the central section, as is the lengthy oboe theme in the moderato section. The second movement opens with the sharp, bright sounds of oboes and clarinets accompanied by Cook Islands log drums. The log drum punctuates the movement's textures and creates a sense of propulsion. A light-hearted dance introduced by string quartet offers an opportunity for a change of mood.
The third movement is a lament for the victims of the Bosnian wars. The highly evocative scoring of the opening pages was inpsired by the wailing of a Maori karanga, while tolling bells imbue this elegy with a special sense of tragedy. The symphony ends with a 'grand dance' which shows Ritchie has not been untouched by rock music. Several themes are brought together in an ecstatic coda, after which the music slowly unwinds over a reiterated pedal note. The opening of the first movement returns, and the final sound we hear is a single stroke on the tam tam.
Symphony No.1 'Boum' was completed while Ritchie was Composer-in-residence with the Dunedin Sinfonia in 1993, and first performed the following year, under the baton of Sir William Southgate. It has recieved numerous performances, and in 1998 was recorded for Concert FM by the New Zealand Symphony Orchestra.

These songs take many various views of the rose, resulting in an eclectic collection of music, challenging but not overly difficult for choir.
The Rose Family was commissioned by Viva Voce of Auckland and composed in 1995. The theme of roses and some of the texts were chosen by Viva Voce's conductor, John Rosser.
The eight songs deal in a fairly light way with a variety of aspects of that most romantic of flowers, from love and happiness through to suffering, pain and death. Edmund Waller's Go, lovely rose is a characteristic idealisation of a young woman and is romantic in style. In Herrick's To the Rose, the rose is used to entrap a lover and force her to submit, and the music reflects this cruelty.
Dorothy Parker suggests roses are all very well but she would have preferred a new car from her lover. The final song is an arrangement of James Oppenheim's suffragette song Bread and Roses, and recalls the the sweated labour of women from the past.
A colourful descriptive piece, imaginatively portraying seahorses, stingrays and dolphins.
The Auckland Sinfonietta requested a piece from me that adopted the theme of the sea. My title was partly motivated by the famous Handel precedent, but focusses on creatures who live in the sea.
The first movement is titled 'Seahorses' and captures the gently undulating movements of these small creatures. More dramatic gestures suggest the ebb and flow of the sea. The second movement is titled 'Sting rays' and the music suggests the slowly flapping motion of the rays. In the third movement, 'Dolphins', the orchestra presents an energetic theme, and the movement is full of strong, upward sweeping gestures. A piccolo solo in the middle section derives from the opening, and portrays a baby dolphin. The work ends with a blow from the dolphin's spout.
This commissioned work was first performed in 1994, and recorded for Concert FM under the baton of John Matheson.
The Flute Concerto was composed for flutist Alexa Still (Principal flute, NZSO) in 1993 while Ritchie was Composer - in - Residence with The Dunedin Sinfonia. Unlike the Symphony "Boum", written in the same year, this concerto is a generally happy and open-sounding work, and reflects aspects of Alexa Still's personality as well as her playing.
The piano reduction of the Flute Concerto has been popular with players, and has often been used for student recitals and as a competition piece.
The second movement from the Flute Concerto has been re-arranged for concert performance, for flute and piano, and published in the volume 'Little Dancings:A selection of Flute Music by NZ Composers'
The Flute Concerto was composed for flutist Alexa Still (Principal flute, NZSO) in 1993 while Ritchie was Composer - in - Residence with The Dunedin Sinfonia. Unlike the Symphony "Boum", written in the same year, this concerto is a generally happy and open-sounding work, and reflects aspects of Alexa Still's personality as well as her playing. She first performed the concerto on September 4th, 1993 in The Glenroy Auditorium, and subsequently recorded it with The New Zealand Symphony Orchestra.
The slow second movement is lyrical and improvisational in style, with two cadenzas at the start of the movement. The first of these was scored for bass clarinet, but becomes a flute solo in the version for piano and flute. In between these cadenzas a warm and gentle theme appears. However, it soon fades into anxious repeated chords on the piano while the flute plays nervous, flickering gestures. As the tension dissolves the piano introduces a laconic theme, interpersed with little cadenzas on the flute. The music builds to a climax where the warm, gentle theme returns in a contrapuntal version, and again fades into the anxious piano chords. A brief and mysterious coda contains references back to the opening cadenza, and the piece ends unresolved.
The Flute Concerto was composed for flutist Alexa Still (Principal flute, NZSO) in 1993 while Ritchie was Composer - in - Residence with The Dunedin Sinfonia. Unlike the Symphony "Boum", written in the same year, this concerto is a generally happy and open-sounding work, and reflects aspects of Alexa Still's personality as well as her playing.
The Flute Concerto was composed for flutist Alexa Still (Principal flute, NZSO) in 1993 while Ritchie was Composer - in - Residence with The Dunedin Sinfonia. Unlike the Symphony "Boum", written in the same year, this concerto is a generally happy and open-sounding work, and reflects aspects of Alexa Still's personality as well as her playing.
The first movement is energetic in style, with a bubbling first theme. This is contrasted by a darker and slower second theme, exploring the lower register of the flute. The music accelerates back to the main theme before heading into a percussive middle section. The flute then presents a lyrical idea which is related to earlier themes, and this leads to a cadenza. A brief recapitulation drives the music to a forceful ending.
The slow second movement is lyrical and improvisational in style, with two cadenzas at the start of the movement. The first of these was scored for bass clarinet, but becomes a flute solo in the version for piano and flute. In between these cadenzas a warm and gentle theme appears. However, it soon fades into anxious repeated chords on the piano while the flute plays nervous, flickering gestures. As the tension dissolves the piano introduces a laconic theme, interpersed with little cadenzas on the flute. The music builds to a climax where the warm, gentle theme returns in a contrapuntal version, and again fades into the anxious piano chords. A brief and mysterious coda contains references back to the opening cadenza, and the piece ends unresolved.
The third movement is like a sequence of dances with different characters, bound together by a buffeting crotchet rhythm. After a flourish from the piano, the flute introduces a sprightly theme, followed by a quirky, subsidiary idea. The buffeting rhythm from the start is transformed into a pop-styled ostinato pattern, and the flute plays a lyrical melody above it. This theme was inspired by the composer attending a performance by The Muttonbirds, a well-known NZ rock group. The quirky theme returns in a more subdued setting, the music slows, and unexpectedly becomes a dreamy and child-like waltz. This distraction is swept away by a loud chord, and the main theme returns with renewed purpose, leading to an exciting conclusion in which all the elements of the movement are combined.
The Flute Concerto was recorded (in the orchestral version) by Alexa Still and the NZSO in 1996, on the Koch CD 3-7345-2-H1, entitled Kiwi Flute.
The second movement of the concerto was published in a special version for piano and flute by The Centre for NZ Music, in their 1998 publication Little Dancings: A Selection of flute music by New Zealand Composers.
There is plenty of variety in the four movements of this work, from the mysterious quality in the first movement, to the energetic humour of the last. Easy to perform.
A simple and peaceful setting of the religious poem by James K. Baxter, composed for an ordination of priests at Dunedin's Holy Cross Chapel. Also available in arrangement for female voices.
A simple and peaceful setting of the religious poem by James K. Baxter, composed for an ordination of priests at Dunedin's Holy Cross Chapel. For voices in 2 parts (male or female).


Designed for quick learning, this lyrical song has proved popular with choirs and soloists.
Portrays a quintessential New Zealand image, a child dancing on a beach. Lively in character. Available for mezzo soprano, soprano or baritone. Also for girl's choir.


A simple and moving setting of Baxter's religious poem, arranged for solo voice and piano.
Versions are available for mezzo soprano, tenor, bass or soprano.

A simple and moving setting of Baxter's religious poem, dividing into two parts in the second half. Many versions for different choral combinations are available.
This work contains a variety of moods and styles, from the quiet and calm slow movement, to the gritty and strong variations of the theme 'Down in the Brunner Mine'. For a professional group.
This powerful and substantial work uses text from 'Berlin Diary' by Cilla McQueen to examine the contrast between beauty and violence.
In 1990 I attended the launch of Cilla McQueen's new book 'Berlin Diary'. This diary made a big impression on me, initially because it brought back memories of my own trip to Europe. I also liked the brilliant mixing of poetic and prosaic styles, and the vivid descriptions of people and places. Something else that imprsssed me was the strong contrast between the inhuman political situation in Berlin (the wall was still up) and the natural, peaceful beauty of Dunedin, New Zealand. (Cilla's and my own home town). A few months later the Aramoana tragedy (where a deranged gunman killed 13 people - Aramoana is a remote seaside township at the end of the Otago peninsula) changed that around. Cilla's beautiful, almost ecstatic centrepiece in the dairy "O Aramoana" now took on a terrible subtext, and it seemed as if the inhumanity of Berlin had come to the remote beach community. A year later, the Berlin wall finally came down, and the unification of East and West Germany became a reality. When Judy Bellingham approached me in 1991 to write a song cycle for her, I immediately wanted to set extracts from the 'Berlin Diary', to capture these layers of dramatic historical irony along with the essence of a marvellous text.
In reality I was able to only set a fraction of the diary to music, and hence the title of my work - 'Berlin Fragments' (which I would also like to think suggests the breaking of the Berlin wall into bits). After talking to Cilla about the work, I decided to make "O Aramoana" the heart of the work, around which somewhat shorter texts are clustered. Sections are often linked by a recurrent chord in the bottom of the piano (the dyad E-F), which I have imagined as a tombstone in musical terms. Framing the work are brief sections which convey the flight to and from Berlin (the "green below" being an unmistakeable reference to a return to New Zealand). The 23 minutes of this song cycle run continuously.
A short and easy piece for guitar, sad and intimate in mood.
Matthew Marshall, for radio. Also on CD as part of secondary school resource produced by The Centre for NZ Music
This is a substantial work in five sections which explores the many different textures and colours available from the combination of two guitars.
Pas de Deux is an essentially abstract work for two guitars, but was conceived as a sequence of imaginery dances, involving two characters. The titles of the five sections give clues as to the mood of each dance, but beyond that the listener must rely on their own imagination and personal experiences to interpret the sounds.
There are elements of 'minimalist' influence in this work, with plenty of quite simple modal ideas being subtly varied in the course of repetitions. This is especially so in the second section, which develops an idea first presented in the choral work 'As Long as Time' (No.3: "I lie, I watch the ceiling"). The third section is more Bartokian in style, while the fourth builds up to a cartharsis through repeated chord patterns. In the short 'Epilogue' ideas from the beginning recur, but transformed into a more peaceful setting.
Pas de Deux was commissioned and first performed by Matthew Marshall and Tony Donaldson.
These songs explore the lives of children and adults, looking at their different ways of viewing things. They are quite approachable, and use elements of popular music.
A lively and slightly jazzy piece that shakes off the 'blues' that sound at the start. Designed for a youth concert band.
This work attempts to shake off 'the blues' with playful and vigorous musical ideas. It starts slowly and in sombre mood but this is quickly swept aside by a jolting 'allegro'. A number of motivic-like themes are presented, and linked together during the piece. The syncopated idea at the beginning recurs as a kind of rondo theme in this one-movement work.
'Goodbye to Blues' was commissioned by the Christchurch Youth Symphonic Band and CSM, with funding from Creative NZ. It was first performed on the band's tour of Hawaii, in 1992. While presenting some challenges to younger players it is not overly demanding in terms of technique.
A short orchestral fanfare, lively and colourful, designed to open a concer
In 1981 I composed a series of piano pieces called 'Poems of Spring', in which I juxtaposed the exhilarating beauty of a Christchurch spring with the terrible pain of a broken relationship. Ten years later, and in the middle of a cruel Dunedin winter, I recalled this Christchurch spring as I was composing this short piece for the Christchurch Symphony Orchestra. 1991 was a year in which I managed to climb out of a dark phase in my life, and consequently this piece expresses a sense of excitement and affirmation. It was designed as a fanfare to open a concert and combines several short motifs into a busy mosaic of sound.
'Yet Another Poem of Spring' is recorded by the NZSO on their 'Landscapes' CD, released in 2001.
These four songs commissioned by The Southern Consort of Voices and recorded by Viva Voce explore different states of mind in a quirky and emotional manner. They are reasonably challenging without being too difficult.
A school show.
This school show takes a realistic and humorous view of adolescent relationships; the music is jazzy in style, and singable by just about anyone.
This short piece was inspired by a journey through the Catlins area, south of Dunedin, mixing bird call with the imagined presence of a steam train.
This piece was written in 1991 for Ann Saslav. It is based on an imaginary scene from years ago when a railway branch line went through native bush in the Catlins area of NZ.
The motif at the start is a bird-call the composer heard in the area.
This piece is aimed at grade 7 or 8 level, and was initially performed in schools by Ann Saslav as part of an educational project.
For accomplished players to perform to children.
A nonsense song designed for easy learning by amateur choir, accompanied by a flexible orchestra.
Four songs designed for easy learning by amateur choir, accompanied by a flexible orchestra. Includes the nonsense song 'Dogwobble'.
Four easy pieces for amateur or school orchestra describing the following moods: 'Ecstatic', 'Sad', 'Angry' and 'Happy'. Features simple and strong rhythms.
This song is from To Face The Night Alone Opus 42. Poem is by Sam Hunt
This major work traces the stages of the grief process, mixing poems by James K. Baxter, Sam Hunt and Janet Frame with an evocative and powerful libretto by Pat White. It is direct in style, and well within the capabilities of most city choirs and orchestras.
This work for choir, baritone and orchestra was composed for The Schola Cantorum (now City of Dunedin Choir) and The Dunedin Sinfonia (now Southern Sinfonia), with the assistance of a grant from Creative NZ. It is a song cycle, using ten poems especially written for the work by New Zealander Pat White. Three other poems are by Baxter, Frame and Hunt.
The languid and lyrical 'Kowhai Tree' and the quirky and funny 'First day at School'.
These approachable songs were composed for high school groups; 'Half Asleep and Half Awake' and the amusing and lively 'The Owl and the Astronaut'.
A work in four movements, Ashburn Fragments is intense and obsessive in tone, requiring a professional pianist.
A short tone poem, describing a Maori myth in music. It is colourful in its orchestration, and contains elements of Maori music mixed with minimalist elements.
The score for this work can be purchased from Wai-te-ata Music Press
Translation of title: 'The winds of Kaiaua'
In Maori mythology, Kaiaua was a child of Tahwiri, the great god of the wind. The winds of Kaiaua are the nor'-westers that frequently sweep across the Canterbury plains. This piece describes an old Maori legend about a chief who disliked the hot nor'-westers so much that he instructed a tohunga (or priest) to perform a chant, making the mountains bigger and stopping the winds coming. However, this caused the plains to become too damp and miserable for the people to live there. The chief prayed for the return of the winds, and eventually they do indeed return, forcing their way over the Southern Alps.
The music for this one-movement piece is directly programmatic, owing something to the composer's experience as Composer-in-schools (1987), where childrens' imagination very readily turns sounds into images. Consequently, a theme from Ritchie's own youth (from age 13) is used in the piece, to depict the march of the wind at the end.
In four connected sections, this work is intense in mood and strong in its rhythms and melodic cells. A personal work, beautiful and sensitive, expressing the images of sadness and despair.
The Hanging Bulb was commissioned by The Dunedin Sinfonia while the composer was Mozart Fellow at Otago University. It consists of a continuous movement, divided into four sections: slow, fast, slow, fast. Sections 1 and 2 are thematically related, as are sections 3 and 4, so the structure could be described as a double couplet.
The work expresses particular emotional and psychological states of mind, encapsulated in the title of the work which is an image of despair. Hanging light bulbs have been associated with despair and obsession in the world of art and in the real world. They became a significant image to the composer at the time of writing this piece, which was not born in happy circumstances. Tension in the music is created through extensive use of the octatonic scale, bi-modal effects and thickly layered chords (such as occur near the end). The xylophone and bass drum are used as symbols of cruelty, while the piano has an important 'personal'statement in the first section. The last section has an obsessional quality which is expressed through repeated rhythms and motifs.
A music resource for secondary schools is available for this work from SOUNZ.
This is an easy and accessible song for choir, with a colourful organ part that is not too demanding to play.
This piece describes feelings of being a first-time parent, and has a variety of contrasting ideas. There are tender, lyrical moments mixed with very active and lively passages, requiring a high standard of playing.
Sharon Joy Vogan, recorded on CD by Concert FM and Centre for NZ Music, as part of 'finemusic' series
The two movements in this work have a folky character while being essentially abstract. The first is called 'Slow Bulgarian Dance' and explores irregular metres, while the second is called 'Skittish Dance'.
The score for this work can be purchased from Wai-te-ata Music Press
An intense work, with a restless first movement, a brooding second movement, and a fleeting and mellow finale. It does not make excessive demands on the players.
The Trio for Clarinet, Cello and Piano was composed in 1988 while the composer was Mozart Fellow at Otago University. It was composed for Peter Adams (clarinet) and Judith Williams (cello) to play, along with the composer at the piano. The first performance took place in 1989, and the same ensemble recorded the work for radio later that year.
This work straddles a stylistic change in the composer's output. The first and second movements still show the influence of Bartok, a composer Ritchie had studied for his Ph.D earlier in the 1980s. In the third movement, however, he experiments with minimalist techniques which he had become interested in during the year as Mozart Fellow.
The first movement has a slow introduction, presenting an important motif which is developed in the faster main section that follows. A more lyrical secondary theme contrasts with the jerky first theme presented by the clarinet, and both themes are combined in the middle section.
The cello plays a brooding theme over an ostinato, at the start of the second movement. It is decorated by the clarinet and the music builds to a powerful and sustained variation of the theme. In the middle, the angst is replaced by drifting, dreamy textures before the main theme returns. However, it becomes transformed by the dreamy texture at the end.
A simple modal idea unfolds at the start of the finale and is developed throughout the movement in various different ways. The impetus of the music grows and it bursts into compund time in the middle section. When the piano becomes 'stuck' on a persistent figure the main theme returns and gradually grows into a broader and more lyrical statement. Following the climax the music quietly runs out of steam and stops.
These short pieces were composed for a concert in Olveston House, Dunedin, and describe different rooms in the historic home. They are evocative and designed for about grade 8 level.
This is a substantial sonata, written for the professional pianist. It is rhythmically challenging, lively, and also contains a haunting slow movement.
This work is dedicated to the composer's piano teacher, Rosemary Miller Stott.
It is in three contrasting movements. The first, an allegro, is in sonata form, and features nervous, darting ideas which become more animated in the middle section.
The second movement opens with a chorale-like theme, expressing feelings of nostalgia. The fidgety middle section builds up more tension, before being combined with the chorale theme.
The finale releases the tensions of the earlier movements, and has a happy, sunny character. Initially inspired by a Beethoven sonata, the rondo theme builds up to a big climax before ending quietly.
A humourous and catchy song, written for high school girls' choir

Arrangement of a traditional Maori song designed for high school performance. It has been widely performed.
These approachable songs were composed for high school groups, and have proved popular among choirs.
Arrangements of traditional Maori songs designed for high school performance. Tutira Mai in particular has been widely performed.
These songs are unconventional in their choral writing and are reasonably demanding in performance. They attempt to capture the quirky and thought-provoking nature of the poems in musical terms.
The score for this work can be purchased from Wai-te-ata Music Press
After a dark and brooding opening, this piece develops into a lively and quirky exploration of an unusual instrumental combination.
A colourful and challenging piece of programmatic music describing the birth of the composer's son, Tristan.
from the Sounz websiteBeginnings was inspired by the birth of Ritchie's son Tristan. It depicts the slowly mounting tension of the labour, through to the birth itself.
There is a gradual growth in the music from small, delicate gestures into wild and pulsating ones towards the end. The child is represented by a 'little Tristan waltz' which eventually gets caught up in the musical frenzy. The waltz sequence imposes order on the music, which tends to be fragmentary and changeable.
There are some echoes of Bartok and Debussy in this earlyish work, and it presents a good challenge for a professional orchestra.
A flowing and lyrical work that builds an impassioned plea for peace. Demanding in performance.
A lively and colourful piece for youth orchestra, based on a quasi-Hungarian folk tune.
This is an accessible work based on East European folk tunes, and is designed for amateur or school orchestras.
These songs are arrangements of Hungarian folksongs collected by Bartok, and require a medium degree of skill from the choir.
This continous piano work is dream-like and colourful in atmosphere, and combines styles and textures in an eclectic manner. Suitable for a professional pianist.
Night-piece was composed in 1986 with the assistance of an Arts Council grant, and first performed by the composer in April 1987. Sharon Joy Vogan subsequently recorded the work for Concert FM.
The one continuous movement is divided into seven sections, linked by recurring motifs. Five of these sections describe dreams, while the opening and closing sections represent the gradual drifting off to sleep, and waking from sleep, respectively.
Rather than being specifically programmatic, Night-piece attempts to evoke strongly-felt sensations and emotions from the the sub-conscious mind.
In three movements, this sonata is expansive and quite demanding for both instruments. It is full of driving rhythms and rich textures.
Combines exciting, Bartokian textures with a more lyrical, Eastern-sounding middle section which uses a Japanese folksong. Suitable for A or B grade bands.
These short settings of English poetry are lyrical while also demanding a reasonable sense of pitch from the singer. They are approachable songs.
This is a lively and rewarding play for an amateur orchestra. It evokes the music of East European bagpipes, which the composer experienced while studying in Budapest, in 1984.
Evokes a funeral in the countryside, drawing on elements from both Maori and Hungarian folk music traditions. Composed in an avant garde style, it is demanding for the perfomer without being too difficult.
Winner of Organists Association of NZ Composition Competition, 1984
Avant garde in style, it explores relationships among people in music, and is technically demanding.
Short part-songs, relatively easy to perform while maintaining a modern style. The texts are both by children.
Virtuosic writing for the soloist along with a colourful orchestral part. In four movements, it explores a wide range of moods and styles.
An early work, exhibiting the influence of Shostakovich and Bartok. Approachable for both players and audience.
The score for this work can be purchased from Wai-te-ata Music Press
Concertino for Piano and Strings was written in 1982 for The Schola Musica and the brilliant young pianist Sharon Joy Vogan.
The idea for the Concertino came from Ashley Heenan, the conductor of The Schola Musica at that time. It is a young man's work: the composer was a student at the Canterbury University when he wrote it, and the music strives for tightness in construction. The three movements use conventional ternary and rondo forms and aim for an economy of means while preserving a sense of passionate intensity.
After a brusque opening, the violins play a long, arching melody that generates the material for the first movement. The music develops to a complex climax before the opening reappears, turned upsidedown. In the second movement, a slow and melancholy waltz is decorated by the piano in a Chopinesque manner. This idea was originally composed to accompany a poetry reading. In the middle section the music intensifies in a way that is reminiscent of the slow movements of Shostakovich. The finale is a rather muscular rondo with a short piano cadenza that leads into the coda. The main theme grows in strength until its final appearance in octaves on the piano where it assumes a slightly manic character.
The Concertino for Piano and Strings has been performed extensively in New Zealand and was chosen to be workshopped and performed at The Sydney Summer School in 1983. It was recorded for Kiwi/Pacifc in 1984.
Eight pieces for piano. Range in mood from energetic and ecstatic, to melancholic, and display influences of Bartok and Prokofiev.
This overture was originally written in 1981 as part of his study, when the composer was in his third year at Canterbury University. Having never received a performance, the overture was then programmed by the New Zealand Symphony Orchestra for the 'Made in New Zealand' concerts, in May 2011. Live Radio NZ Concert broadcasts were made of both concerts.
The starting point for the piece is a 6-note theme - C-D-G-A-E-F - attributed to the playwright William Shakespeare in a biography of his life by Anthony Burgess, simply called Shakespeare. The theme was allegedly written by Shakespeare for inclusion in his play Love's Labour's Lost. Burgess points out that this 6-note theme can be transposed at the tritone to produce a 12-note row. The theme appears as the second main idea in the fast section, and given a cheeky character on the oboe. Preceding this is a vigorous theme on strings that undergoes plenty of development during the course of the piece.
The overture begins with a slow introduction, brooding in character and featuring short cadenza-like solos for woodwinds. As the 'allegro' develops it assumes a mercurial character, with many sudden changes of colour, dynamics and rhythm. The climax of the overture features a blazing idea for three trumpets over stalking string lines.
Strongly astringent short pieces, featuring an expressive passacaglia based on a 12-note row. This movement was revised by the composer in 2001, and can stand alone as a 5-minute adagio.
These pieces were composed while Ritchie was a second year student at Canterbury University, in 1980. They recieved their first performance at the Cambridge Summer Music school later that year.
The three movements are entitled: 'Agitation', 'Resignation' and 'Desperation', and show a willingness to explore free-tonal effects to create a restless quality in the music. 'Resignation' is a Shostakovich-like passicaglia, based on a 12-note theme, while the opening movement features changing metres.
A lively and humorous setting of James K. Baxter's classic ballad about the owner of the Hesperus Hotel.
A lively and humorous setting of James K. Baxter's classic ballad about the owner of the Hesperus Hotel.
James K. Baxter is New Zealand's most well-known poet. He wrote in a wide variety of styles and genres, including the traditional ballad form, of which 'Lament for Barney Flanagan' is a prime example. It contains a classic Baxter mix of humour and pathos, lively in spirit but focussed on the subject of death, in this case the heart-attack of an overweight publican. The music is simple and strong, allowing the witty lyrics to speak for themselves, but also adding occasional wry touches of word-painting.
This youthful and ambitious work shows influences of Bartok and Shostakovich, and includes a finale based on a 12-note row.
This sonata was composed while Anthony was a 5th former at High school. It was first performed to him by University tutor and violinist, Chloe Moon. He subsequently revised it in 1981 and was performed by Sydney Mannowitz (who recorded it for National Radio in 1984) and Mark Menzies.
The music for all of these works is available from Anthony. Please make contact if you would like to buy or hire music, or require assistance or advice with your performance
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Cheryl Cam has written a study guide to Hanging Bulb for Years 11 to 13 (Form 5 to 7) with accompanying CD. It is part of the SOUNZwrite series.
SOUNZwrite is a series of study guides to works by New Zealand composers written especially for use in NZ schools. They are produced by the Centre for New Zealand Music and are written by composer and educator Cheryl Camm.
The guides contain:
Ears Wide Open : Taringa Areare
This latest SOUNZwrite Resource supports the music discipline in the new arts curriculum from levels 1 to 4. Researched and trialled by Cheryl Camm, it consists of:
Ears Wide Open : Taringa Areare has many activities which link to other arts disciplines - drama, dance and visual arts - and other areas of the curriculum including science, social studies and English. Each activity has suggested learning outcomes and assessment ideas.
Learning experiences include: