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This work was written at the request of conductor Elise Bradley for her highly regarded choir Key Cygnetures at Westlake Girls High School (Auckland).

It was intended for a ‘mid-winter Christmas’ concert which was to also feature Britten’s A Ceremony of Carols. I therefore felt happy to turn to Christmas texts with some of the more traditional Christmas references (snow etc).

The first text is from the fifteenth century and is a general text mentioning Mary, the manger, the wise men, and the gifts they brought, and ends with call to delight in the Christ child. The second text, by G.K. Chesterton contains images of snow and night, and ends with the line that gives the work its overall title. The third text is a variant of the carol ‘I saw three ships come sailing in’ and may refer either to the medieval myth that Joseph and Mary travelled to England, or obliquely to purported journeys of the relics of the wise men. The fourth text is a lullaby by nineteenth century poet John Addington Symonds. Again the wise men and their gifts are mentioned along with the shepherds. The final text is another anonymous one, and is simply a brief and energetic welcome to ’heaven’s King’.

• Hamilton: A Child Comes Forth; computer-set 

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• The Treble Voice Choral Music of David Hamilton Vol. 2 

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A Maori Suite was commissioned by the Royal Youth Concert given the presence of Her Majesty Queen Elizabeth the Queen Mother on 26 April, 1966.

• Heenan: A Maori Suite: facsimile  Year: 1984 

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• Ashley Heenan: Orchestral Music  Year: 1996 

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For the life and work of William Cumming

The dark is light enough
listening for that shout of green

*William Cumming (1933-2002): designer, teacher and experimental painter. The ideas of ‘taking a line for a walk’ and ‘devotion to the small’ expressed in the first song-text are from Paul Klee, whose pictures William admired greatly.

• Powell: A Shout; computer-set 

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• Powell: A Shout; computer-set 

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• Kit Powell: A Shout 

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This work was commissioned by The Southern Consort of Voices in 1991, with funding from Creative NZ. It sets three NZ poems to music, with a fourth song being wordless: Timepiece to a poem by Cilla McQueen; Before the Fall to a poem by Rachel McAlpine; I lie, I watch the ceiling (wordless); and We could just disappear to a poem by Sam Hunt.

In 2001 Auckland choir Viva Voce recorded this work on their CD entitled Snapshots – A Cappella Choral Favourites. Conductor John Rosser writes of the work – “Anthony has a wonderful knack of writing for voice. Timepiece portrays a woman struggling to break free of suburban neurosis and the tyranny of time. Before the Fall alludes to lost childhood innocence, and We Could just Disappear depicts the future as an endless tunnel of the mind.”

• Ritchie A.: as long as time; facsimile 

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• Ritchie, A: as long as time; facsimile 

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• Ritchie A.: as long as time; facsimile 

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• Change Change Change... IAMIC Concert 2008 

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• Music by Anthony Ritchie 

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• Snapshots: A cappella choral favourites  Year: 2001 

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• Edwin Carr: Orchestral Works  Year: 1986 

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This cycle for unaccompanied women’s chorus in five short movements sets various Ben Jonson lyrics including So Sweet is She and Men’s Shadows.

• Ritchie J.: Canary Wine; facsimile 

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• Ritchie J.: Canary Wine; facsimile 

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• Ritchie J.: Canary Wine; facsimile 

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• John Ritchie: So Sweet is She from "Canary Wine"; video 

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• John Ritchie: Men's Shadows from "Canary Wine"; video 

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• John Ritchie: Two songs from 'Canary Wine' 

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• New Zealand Choral Music Vol. 1  Year: 1994 

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• Tower New Zealand Youth Choir: Winds that Whisper  Year: 1998 

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A “deconstruction/recomposition” of a fifteenth century carol for 3 soloists and choir on the martyrdom of St Stephen. This dramatic work has become a standard text for study in schools through New Zealand. It has been recorded by the New Zealand National Youth Choir.

• Body: Carol to Saint Stephen; facsimile 

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• Jack Body: Carol to St Stephen  

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• Visions: New Zealand Choral Music 

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• Visions: New Zealand Choral Music 

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• New Zealand National Youth Choir: Te Roopu Rangatahi Waiata o Aotea Roa  Year: 1992 

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• McLeod: Childhood; computer-set 

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• McLeod: Childhood; facsimile  Year: 1988 

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• Jenny McLeod: Childhood 

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• Jenny McLeod: Childhood 

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• Prisms - The Bach Choir 

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• NZ Flora Series Vol 4  Year: 1985 

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• Prisms - The Bach Choir  Year: 1985 

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• NZ National Youth Choir on Tour North America  Year: 1994 

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• Tower New Zealand Youth Choir: Winds that Whisper  Year: 1998 

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The book of Job, Chapter 38, is the basis of the text from which ‘Et Misericordia’ makes a series of pictures. The title is from a phrase of the Magnificat: ‘and his mercy is on those that fear him, from generation to generation’. ‘Et Misericordia’ was written for the Sydney Chamber Choir.

• Maclean: Et Misericordia; facsimile 

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• Maclean: Et Misericordia; facsimile 

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• Clare Maclean: Et Misericordia 

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• Clare Maclean: Complete Choral Music 

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Risky, perhaps, to create a set of ‘Lullabies’, if one wants to avoid sending an audience to sleep! But a lullaby might not always be soporific, if we consider the state of mind of the singer, who may be singing as much for themselves, projecting onto the child their own anxieties, frustrations, aspirations, hopes.

The musical language tries to suggest a folk-like simplicity; the invented languages likewise hinting at distant regions, no. I African perhaps, II Turkish, III Latinate, IV Pacific. In the final movement, the word ‘Calumbaya’ is borrowed from the name of a Filipino friend’s barrio, a name so euphonious as to be irresistible.

Invariably, mature age is a time for surrendering to seductive nostalgia and sentimentality, the very things one had previously studiously avoided. But the challenge is to find true beauty in the banal, and mystery in common cliché, something I attempted in my several settings of old songs, remembering my dear, departed paternal grandmother, and also my hale and hearty 100 year-old father, whose musical tastes extend little further than old style tunes like these.

Five Lullabies was composed in 1989 as a tribute to Peter Godfrey on his retirement, and was first performed in its entirety by the Tudor Consort. Musically, they were partly inspired by my discovery of the wonderful vocal polyphonies of some of China’s minority cultures, sometimes characterised by the so-called ‘dissonant’ interval of a 2nd being held to resonate as a consonant.

• Body: Five Lullabies; computer-set 

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• Body: Five Lullabies; facsimile 

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• Baroque Voices: How Great is the Pleasure   Year: 2001 

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• Waiteata Collection of New Zealand Music Vol. 6 - Composer Portrait: Jack Body  Year: 2003 

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• a bridge of dreams  Year: 2011 

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