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This orchestral work with mezzo-soprano and baritone soloists was commissioned anonymously for the BBC Scottish Symphony Orchestra and is inspired by “Macbeth” Act IV Sc III. The text is by Patrick McGuire and the work is in seven movements.

• Cresswell: A Modern Ecstasy; facsimile 

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• Cresswell: A Modern Ecstasy; facsimile 

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• Lyell Cresswell: Orchestral Music -1  Year: 1991 

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• Wells: A New Zealand Suite; computer set 

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• John Wells: From the Land of the Long White Cloud  Year: 1991 

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On request from Matthew and Anna Leese, Ritchie arranged his A Poem Just for Me as duet for soprano and baritone. The words by English poet Roger McGough describe an identity crisis brought on by the process of growing up, and the setting is simple and touching.

• New Zealand Poets in Song - Anna and Matthew Leese sing songs by Anthony Ritchie  Year: 2008 

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• de Castro-Robinson: A Resonance of Emerald; facsimile 

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• de Castro-Robinson: A Resonance of Emerald; facsimile 

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• de Castro Robinson: Works 1 

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• Biddington: A Short Overture; facsimile 

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• Biddington: A Short Overture; facsimile 

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• Eric Biddington: Mad Music 

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• Eric Biddington - A Short Overture 

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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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Ahotu is the sixth in a series of instrumental pieces based on the phases of the moon, and refers to the seventh day of the cycle. The entire thirty-day cycle has been used as one of the rhythmic generators of the piece, with vowels and consonants translated into durations to provide the apparently irrational rhythms, which are contrasted in a series of short ensemble or solo sections with either proportional or regular rhythms. The two longest sections are centrally placed. The first, featuring trombone and percussion, presents the language-based material in the percussion; the second, starting with the long piano solo, begins a mensural canon based on the proportional material. However, half-way through this canon, recapitulatory material begins, and subsequent appearances of the canon occur in continually shorter blocks, each transformed very differently. O Matenga, in the title of the piece, refers to the Maori custom, found also in many other civilisations, of providing sustenance for the spirit to the next world after death.

• Whitehead: Ahotu (O Matenga); facsimile 

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• Whitehead: Ahotu (O Matenga); facsimile 

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• Lontano: New Zealand Women Composers 

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Originally called A Song of Tamatea, this work was revised in 2000 to become An Offering for Parihaka.

• Hamilton: A Song of Tamatea; facsimile 

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• Hamilton: An Offering for Parihaka; computer set 

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• Hamilton: An Offering for Parihaka; computer set 

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• David Hamilton: A Song of Tamatea 

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• Parihaka 

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A three-movement concert suite for string orchestra, originally commissioned for the Schola Musica of the New Zealand Symphony Orchestra.

• John Ritchie: Aquarius (Suite No. 2) - hire set 

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• Ritchie J.: Aquarius; computer-set 

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• Aquarius: Music by John Ritchie  Year: 1998 

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An “aubade” is a morning song; counterpart of a nocturne, it is literally a “song of the dawn.” The brightness of this Aubade is in simplicity, calmness, and tonal warmth. Written as an afterthought to the Rococo Sonatina, it shares some of the same influence of light jazz and impressionism, yet melded more to a modern chamber music aesthetic than an ancient one.

The piano opens with a simple three-note theme over a calm progression of seventh chords. Echoed by the flute, the theme develops into a more flowing and graceful line, ultimately resolving on a wistful note. A brisk, bird-like section follows, elevating the mood as the flute flutters and the piano scurries. A pensive cadenza leads the music back to the serene calm of the introduction, which leads to a final jazz progression that concludes the music in a different key.

• Goss: Aubade; computer-set 

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• Goss: Aubade; computer-set 

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• Thomas Goss: Aubade 

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