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The music of ‘A West Irish Ballad’ follows the course of an anonymous Irish poem, and is influenced by Irish traditional music. Much of the musical imagery comes from the poetry, from the snipe and the ‘lonely bird in the woods’, to the developing ostinato reminiscent of church bells, and to the broader feeling of the landscape as I imagine it, and the deep emotion of Irish laments and love songs. ‘A West Irish Ballad’ was written for the Sydney Chamber Choir.

• Maclean: A West Irish Ballad; facsimile 

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• Maclean: A West Irish Ballad; facsimile 

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• Clare Maclean: A West Irish Ballad 

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• Clare Maclean: Complete Choral Music 

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This work uses, as its sound source, an array of human voices, all of which are deceased political and/or historical figures. It is not intended to be entirely comprehensible at a first hearing as I wished to convey, in part, our cultural over-stimulation in comparison to say, 100 years ago. Musically, it is shaped as a canon, and (taking my inspiration from a comment by Dylan Thomas to the effect that what originally attracted him to language was not its meaning but its sound) I have assembled increasingly fragmented parts of speeches into a confusing labyrinth which will hopefully stimulate harsh emotion. How’s that for a run-on sentence!

Between the Lines was realized at the Electronic Music Studios at the University of Toronto, and re-mastered in Studio A of the Experimental Music Studios, University of Illinois, Urbana, United States.

• Stolen Music - New Compositions by Matthew Davidson  

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• Stolen Music - Chamber and Electronic Music by Matthew Davidson  Year: 1996 

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‘Roll Jordan Roll’ (movement one) is a series of genre variations on the African-American spiritual of the same name. The melody was transcribed from a 78rpm recording of the Fisk Jubilee Singers, and in turn, this appeared on the 1962 Folkways LP entitled An Introduction to Gospel Song. In my version, the listener will hear my own harmonization followed sequentially by pastiches of Karlheinz Stockhausen, Lennie Tristano, Anton Webern, and Thelonious Monk, in turn.

‘Dangdut’ (movement two) is a direct transcription of an Indonesian street musician called Mas Sujud. He and the tune appeared on a 1982 Kiwi-Pacific Records Ltd./Hibiscus Records LP called Music for Sale (Indonesian street music recorded by Jack Body). In the original, the singer accompanies himself on a small drum, and in my version, the piano part was generated solely by the notes in the melody and rhythms played by the drum. The sax part plays the melody.

This piece was recorded in 1991 by Taimur Sullivan (sax) and Allissa Eells (piano) with funding from the American (then Minnesota) Composers Forum.

• Davidson: Deux Plaisenteries; computer-set 

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• Davidson: Deux Plaisenteries; computer-set 

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• Davidson: Deux Plaisenteries; computer-set 

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• Davidson: Deux Plaisenteries; computer-set 

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• Stolen Music - New Compositions by Matthew Davidson  

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• Stolen Music - Chamber and Electronic Music by Matthew Davidson  Year: 1996 

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This single movement work is a combination of the rhythmic techniques of Steve Reich with the harmonic language of Alban Berg, George Perle, et al. I call this new creation, “Pan-tonal phase music.” Originally a three movement piece, even a 1996 revision could not save the last two (which I felt were very weak), so the unrevised first movement is all that remains of what I now believe to be a much better (and shorter) creation.

• Davidson: Music for String Quartet; computer-set 

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• Davidson: Music for String Quartet; computer-set 

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• Davidson: Music for String Quartet; computer-set 

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• Davidson: Music for String Quartet; computer-set 

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• Talencourt  Year: 2008 

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When composing this piece I had in mind a portrayal of my two-year old son Tristan, and the effect he had on my life. It seems to me that living with a young child can uncover previously hidden aspects of a parent’s personality. A high degree of sacrifice is demanded. This can make parents into more caring people, but it can also place them under enormous stress. The ways in which we react reveals significant things about ourselves, such as our levels of tolerance, and our ability to communicate.

Although these ideas provided the stimulus for Music for Tristan, there is no specific programme of events in the music. Much of the material in the piece derives from the opening melody. There are five main sections in the piece, forming an arch (A B C B A). The outer sections are slower and expressive, while the inner sections are fast and dynamic.

• Ritchie A.: Music for Tristan; facsimile 

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• John and Anthony Ritchie: Caricatures; computer-set  Year: 2003 

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• SOUNZfine Volume 1  Year: 1996 

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• Expressions - piano music by Anthony Ritchie  Year: 2010 

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Olveston Suite was composed in 1988 while Anthony Ritchie was Mozart Fellow at the University of Otago. The manager of Olveston House in Dunedin, Mr Dennis Moore, asked Anthony to play a programme of music in Olveston, on the 1904 grand piano. In response to a joking suggestion for a piece about the house, Anthony set about composing the Olveston Suite in quick time.

The pieces reflect qualities of the house; ‘Great Hall’ is expansive and majestic, ‘Kitchen and Scullery’ is busy and bubbling, while ‘Dining room’ suggests an old English style. The fourth piece, ‘Writing Room, Edwardian Bedroom’ is dedicated to Dorothy Theomin, the daughter of the original owners of Olveston and the last member of the family to live in the house. ‘Billiard Room, Persian Room’ is fast and jovial with an exotic middle section. The Suite is rounded off by a repetition of ‘Great Hall’, as the listener exits Olveston.

• Ritchie A.: Olveston Suite; computer-set 

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• John and Anthony Ritchie: Caricatures; computer-set  Year: 2003 

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• Expressions - piano music by Anthony Ritchie  Year: 2010 

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This work juxtaposes three technologies, an organ grinder, a 78rpm phonograph record, and an AKS synthesizer. Almost all the sounds in this rounded binary structure are derived from the sound of the organ grinder, often distorted beyond recognition, and the original sound source is revealed in the final moments. The sound source is a 1915 Ford Dabney tune called The Georgia Grind recorded by an organ grinder. On the 78rpm record (a copy of which I own) the performer is identified as “Signor Grinderino” – perhaps the first conscious joke played the recording industry on the public. The recording also appears on a 1973 Folkways LP, Ragtime Entertainment.

This piece was realized at the Electronic Music Studios of the University of Toronto, Canada, and re-mastered in Studio A of the Experimental Music Studios, University of Illinois, Urbana, Il, United States of America.

• Stolen Music - New Compositions by Matthew Davidson  

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• Stolen Music - Chamber and Electronic Music by Matthew Davidson  Year: 1996 

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Sonatina in G was originally composed, as a commissioned work, for Stephanie Grey, while she was New Zealand Accordion Champion and principal accordionist with the Air New Zealand Accordion Orchestra. Stephanie was New Zealand solo accordion champion in 1985, 1987 and 1988. Stephanie premiered this work in Auckland in 1989.

• Daverne: Music for Accordion; computer-set  Year: 2006 

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• Gary Daverne: Accordion Concert Music 

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• Biddington: Suite for Oboe and Piano; facsimile 

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• Eric Biddington: Tunes and Airs  Year: 1998 

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• John Psathas: Waiting for the Aeroplane (SOUNZwrite) - hardcopy study score 

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• First Fifteen - a selection of piano music by NZ composers  Year: 1996 

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• Firestarters 2: seven new recital pieces for piano  Year: 2005 

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• John Psathas: Waiting for the Aeroplane; video 

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• John Psathas: Waiting for the Aeroplane 

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• John Psathas: Waiting for the Aeroplane 

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• John Psathas: Works 1 

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• SOUNZfine Volume 1  Year: 1996 

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• Michael Houstoun - Elusive Dreams  Year: 1996 

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• You Hit Him He Cry Out - Dan Poynton  Year: 1996 

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• John Psathas: Rhythm Spike  Year: 1999 

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• Firestarters 2: 7 new recital pieces for piano  Year: 2005 

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