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‘Beginnings’ was commissioned by Auckland Philharmonia. It 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 early work, and it presents a good challenge for a professional orchestra.

• Ritchie A.: Beginnings ; Facsimile 

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• Anthony Ritchie: Beginnings; audio 

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• Auckland Philharmonia Orchestra: New Zealand Music 1  Year: 1990 

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• Daverne: Caprice; computer-set  Year: 1989 

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• Gary Daverne: Accordion Concert Music 

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• Williams, F.: Carol of the New Zealand Bush; facsimile 

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• Music by Felicity Williams 

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Composed at the 1984 Cambridge Summer School, Clouds over Pirongia is a short delicate piece which uses a wide variety of metallic percussion instruments. The resonant sonorities were suggested by various cloud formations over nearby Mt. Pirongia.

• Rimmer: Clouds over Pirongia; facsimile 

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• Ears Wide Open Taringa Areare Education Resource CD  Year: 2000 

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• Sound Barrier  Year: 2006 

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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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• McLeod: Dirge for Doomsday; facsimile  Year: 1988 

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• New Zealand Youth Sings to the World  Year: 1987 

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• New Zealand Youth Sings to the World  Year: 1987 

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• de Castro-Robinson: Efflux; facsimile 

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• de Castro-Robinson: Efflux; facsimile 

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• John Elmsly (ed.): Canzona Vol 7 No 23  Year: 1985 

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• de Castro Robinson: Works 1 

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• Crossman: Expression in Blue; facsimile  Year: 1988 

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• Waiteata Collection of New Zealand Music Vol. 1 - A Violin and Piano Recital  Year: 1999 

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This work for solo flute and tape uses various modern playing techniques. Form inspired by a picture by Kokoschka.

• Powell: Floetenspieler und Fledermaeuse; facsimile 

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• Powell: Flötenspieler und Fledermäuse; facsimile 

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• Powell: Flötenspieler und Fledermäuse; electroacoustic part 

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• Powell: Prepared Tape  Year: 1994 

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Fluchtig was composed in 1986. The title comes from the German word fluchtig – fleeting – used by Schoenberg and others in various compositions (eg. Op. 19 No. 1). The work is built around the interaction between flute multiphonics (two or more notes played simultaneously) with their characteristic ‘fleeting’ nature, and FM sound on tape.

• Ross Harris: Fluchtig 

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• New Zealand Sounds - October Sound 

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• Ross Harris: Inner Worlds  Year: 1993 

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