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John Ritchie  

Four Zhivago Songs

Duration: 12' 00" Year: 1977
for voice and piano

  • Programme Note

    In 1977 John Ritchie set four poems from the English translation of Doctor Zhivago by Max Hayward and Manya Harari, and the songs were first performed in Durham in 1978. The extensive use of both ends of the vocal range fulfils the breadth demanded by the poem’s Russian originas, yet without recourse to cluttered or overly thick textures.

  • Availability

Philip Norman  

Friendship Haiku

Duration: 10' 00" Year: 1992
for orchestra

Douglas Mews  

Ghosts, Fire, Water

Duration: 10' 00" Year: 1972
for alto solo and unaccompanied mixed voices

Juliet Palmer  

Helen

Duration: 14' 00" Year: 1997
for counter-tenor, chorus, violin, cello, percussion and organ

Martin Lodge  

Hinterland

Duration: 11' 00" Year: 1997
for orchestra

Lyell Cresswell  

Ixion

Duration: 11' 00" Year: 1989
for orchestra

Anthony Ritchie  

Johnny Come Dancing

Duration: 10' 00" Year: 1998
for SATB choir and piano duet

  • Instrumentation
    for mixed choir with optional trebles and piano (4 hands)
  • Programme Note

    Poem by Bub Bridger for mixed choir with optional trebles and piano (4 hands) Bub Bridger started writing poetry after visiting the river which Douglas Bridge spans in Northern Ireland. Johnny Come Dancing was one of her first poems and tells the story of a man’s magic encounter with fairies and his subsequent emigration to New Zealand. Johnny in the poem was, in fact, Bub Bridger’s father, and she assures me the story is true. The combination of magic and music in the poem appealed to me greatly, and made me want to set it for this commission. The song uses Irish dance rhythms to underpin the largely modal vocal lines. The third verse adopts a different style, however, with reference to the old-style ‘glees’(male part-singing). In the end, the dance rhythms return to drive the music to a climactic ending. Commissioned by The New Zealand Choral Federation (Otago Branch) for performance at its annual conference in Dunedin, July 1998

  • Availability

Robin Fazakerley  

Jubilate

Duration: 11' 00" Year: 1999
for trumpet, chamber orchestra and pipe organ

Gareth Farr  

Kembang Suling

Duration: 10' 00" Year: 1995
for flute and marimba

  • Programme Note

    I – On the magical island of Bali, flowing gamelan melodies intertwine with the sound of the “suling” (Balinese bamboo flute) to form rich colourful tapestries. The marimba and flute start out as one, their sounds indistinguishable. Bit by bit the flute asserts its independence, straying further and further from the marimba melody. An argument ensues – but all is resolved at the climax.


    II – The haunting sounds of the Japanese “shakuhachi” flute float out over the warm echoes of the rolling landscape.

    III – Complex rhythms and South Indian scales set the two instruments off in a race to see who can outplay the other. The marimba is set in a three bar cycle of 5/4 + 5/8 + 5/6 but the flute plays a different cross rhythm each time, returning to the marimba’s pattern at the end of every cycle.


    from Tangaroa – Trust Records

  • Availability

Jack Body  

Kryptophones

Duration: 10' 00" Year: 1973
for tape