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An unusual work combining field recordings of fiddle music played by an Indonesian street-seller of candy-floss (in Indonesian, "arum manis, meaning “sweet aroma”) with a string quartet. The listeners’ ears are charmed by music which passes seamlessly between the tape and the live performers. Composed for the Kronos Quartet, this work was presented at the 1996 International Rostrum of Composers.

• Body: Arum Manis; facsimile 

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• SOUNZfine Volume 3 

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• Sound Barrier  Year: 2006 

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• Frykberg: Astonishing Sense... 

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• Frykberg: Astonishing Sense...; computer-set 

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• Susan Frykberg: Astonishing Sense 

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Different to Six Meditations 1988. Although No.3 uses similar violin material to No.5 of the earlier series with/against a different tanpura tuning.

• Chris Prosser: Live at Het Apollohuis - 'Four Meditations' 

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This single movement work is structured as follows: A – variation1(a) – var2(a) – B – var1(b) – var2(b) – var2(c ) – var1(c ) – C Capital letters refer to themes, “var” refers to the different variations upon those themes. Although there is only one continuous movement, it is divided into three sections with the aforementioned contrasting variations. “A” is a transcription of a prison work song I had five long years recorded at the notorious Angola State Penitentiary in Louisiana in 1959 by Harry Oster (released on Folk-Lyric Recording Co., Louisiana Folklore Society). The original singer was James Russell and some other inmates. To appreciate the anguish and bitterness behind these prison songs, one must become familiar with the outrageous conditions to which inmates were subjected during its worst years. “B” is a transcription of the railroad song, John Henry as sung by Rich Amerson, a transient from Alabama as recorded by Harold Courlander in 1956 for Folkways Records. “I ain’t proud to be poor, but I ain’t too poor to be proud,” he was recorded as saying. Its treatment is also indicative of early jug band recordings of the 1920s which I enjoy. “C” is a transcription of the Bayou Teche Waltz as played by Columbus Fruge, a Cajun accordion player and singer recorded in the 1920s. As stated previously, each transcription is dealt with in a set of two variations. Variation 1 is a polytonal variation to be played exactly as written. Variation 2 is an optional improvised section which can either be played exactly as notated or partially as notated and/or completely improvised thereupon.

• Davidson: I had five long years; computer-set 

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• Davidson: I had five long years; computer-set 

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• Davidson: I had five long years; computer-set 

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• Davidson: I had five long years; computer-set 

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• Talencourt  Year: 2008 

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This string quartet is performed as one movement. The first section is predominantly contrapuntal, including the opening bars where each performer sings ‘Aue’ (meaning ‘Alas!’, a Maori acclamation in some waiata tangi). The work continues with a section which features solo cello, followed by dance and song-like sections.

Much of the work is based on the intervals of a minor third, semitone and tone. Karanga, Maori song-calls, performed by women on the marae to welcome or farewell people, are one source of inspiration for this piece. A characteristic musical feature of karanga is a long drawn out cry (glissando). Since there is often more than one caller on the marae, it is not uncommon for the calls to overlap.

In October 1994 the New Zealand String Quartet gave its premiere performance at Lower Hutt. It is described as “quite probably the most successful synthesis of the contemporary Maori and European sound worlds.” Dominion 16-9-95.

• Fisher: String Quartet; computer set 

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• Fisher: String Quartet; computer set 

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• Helen Fisher: Matairangi  Year: 1998 

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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: I – Grave – Andante energico II – Allegretto III – Adagio mesto IV – Allegro vigoroso

• Ritchie, A.: The Blue Sonata; computer-set 

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• Ritchie, A.: The Blue Sonata; computer-set 

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• Anthony Ritchie: Chamber Music  Year: 2006 

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The Viola Concerto proved to be so popular it has now been published as a sonata for players who don’t have an orchestra at their disposal. Senior students and professional players will enjoy this piece. It was released on CD by Kiwi Pacific (SLD-113) in 2006, with Donald Maurice (viola) and Emma Sayers (piano).

• Ritchie: Viola Sonata; computer-set 

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• Ritchie, A.: Viola Sonata; computer-set 

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• Anthony Ritchie: Chamber Music  Year: 2006 

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