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A work composed for Finnish wind quintet Idée Fixe on the request of the group’s clarinetist, Reetta Näätänen. E pari, e te tai translates as tide, flow on, a title that assumed a dark irony when, shortly after completion of the work, the Boxing Day Tsunami struck in the Indian Ocean. Premiered by Idée Fixe in Ikaalinen, Finland 2005.

• Watson, C.: E pari, e te tai; computer-set 

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• Watson, C.: E pari, e te tai; computer-set 

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• E pari, e te tai  Year: 2005 

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• Biddington: Nelson Breezes; computer-set 

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• Biddington: Nelson Breezes; computer-set 

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• The Land God Gave To Meg - Chamber Music of Eric Biddington 

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This suite was written from 1999 when movements 1, 3 and 4 were composed and completed in 2003 with movements 2 and 5. It depicts various piper characters from English literature, except for the second movement The Piper of Dreams which was suggested by a picture by Estella Canziani (1887-1964) of a boy whose playing of a pipe has enticed fairy creatures to dance around him.

The first movement, The Piper at the Gates of Dawn is taken from the Wind in the Willows by Kenneth Grahame. The third movement Peter Piper and Tom the Piper’s Son are from nursery rhymes, the fourth, Blake’s Piper from Piping down the Valleys Wild from the poem by William Blake, and the last movement The Pied Piper from the famous piper of Hamelin from the poem by Robert Browning. The middle section of this movement depicts the disappointment of the little lame boy who could not keep up and was thus denied the delights promised to the other children spirited away by the piper’s music.

• Wegener: Pipers All; computer-set  Year: 2003 

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• Margaret Wegener: The Piper of Dreams  Year: 2005 

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• Audain: Swimming with the Dinosaurs; computer set 

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• Audain: Swimming with the Dinosaurs; computer set 

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• Audain: Swimming with the Dinosaurs; computer set 

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• Audain: Swimming with the Dinosaurs; computer set 

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• Swimming with the Dinosaurs  Year: 2004 

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This Wind Quintet was commissioned by Chamber Music New Zealand Trust to be performed by Zephyr, with funding from Creative New Zealand. It is a semi-programmatic piece, inspired by associations with Central Otago. There are three connected sections, with the following sub-titles:

I – Chill winds from the south and west
II – By the Dry Cardrona
III – A Procession of Clouds

These sub-titles come from lines and titles by New Zealand poets Brian Turner (I and III, both in the book Timeless Land) and James K. Baxter (II). Sections I and III reflect on the influence of the weather, while the middle section uses a New Zealand folk song as a basis for the material. Baxter’s poem By the Dry Cardrona was written in 1956 and was set to music by James McNeish and Don Toms. Numerous folk singers have adopted it, including Martin Curtis, to whom I owe my first experience of this marvelous song, on the album Gin and Raspberry. Part of the tune is subject to variations in this middle section.

The first section of the Wind Quintet is dominated by images of the wind, suggested by rapidly moving themes and patterns. There is some repose in a reflective second theme, which features bird-calls, announced on the flute and then taken up by the other instruments. These ideas are repeated and varied before the bird-calls fade, and the second section begins with strident flourishes on the clarinet. A stark solo on the flute is accompanied by cold-sounding chords, suggested images of winter. This is followed by solos on oboe and horn, before the music slips into the folk melody By the Dry Cardona, shared between flute and oboe. There are four variations on this melody and they conjure images of the expansive and wind-swept Cardrona valley. The section is rounded by a return to the strident flourishes, and the music leads into the final section, ‘A Procession of Clouds’. It is characterized by a constantly moving stream of notes, starting off in a meter of 7/8. The cry of birds is heard at one point, and a simple repeated theme in the middle suggests a human lying on their back, imagining shapes in the clouds. Similarities with the first section are made explicit in the coda, when the music eventually morphs back into the opening. The wind eventually dies out at the end.

• Ritchie, A.: Wind Quintet; computer-set 

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• Ritchie, A.: Wind Quintet; computer-set 

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• Music by Anthony Ritchie 

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