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This cycle of five songs for baritone and piano was awarded the Philip Neill Prize by the University of Otago in 1991. It expresses five perspectives on the concept of time, some humorous and some more contemplative.

• Grenfell: A Pinch of Time...; facsimile 

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• Grenfell: A Pinch of Time...; facsimile 

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• Grenfell: 2 pieces from "A Pinch of Time..."; computer-set 

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• Kowhai - an album of songs by NZ women composers  Year: 1994 

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• Grenfell: selected works 

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• Burning Bright - four NZ women composers  Year: 1999 

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clarinet, 2 violins, viola and cello

• Hall: a splinter of silence in the belly of time; facsimile 

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• Hall: a splinter of silence in the belly of time 

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• Neville Hall: Selected Works 

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These three pieces for solo piano were commissioned by pianist Michael Houstoun. Each is concerned with aspects of deja vu or ‘second sight’ including sensations of past lives, strangely familiar places and the cyclical nature of experience. The second of these pieces is published by SOUNZ in First XV.

• Blake: Ancient Journeys; facsimile 

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• First Fifteen - a selection of piano music by NZ composers  Year: 1996 

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• Michael Houstoun - Elusive Dreams  Year: 1996 

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• Christopher Blake: Ribbonwood is Home  Year: 1998 

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Percussion: vibraphone, snare drum, tom-toms (4), suspended cymbal, bass drum, timpani (4)

• Bisley: Come Back Safely; facsimile 

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• Bisley: Come Back Safely; facsimile 

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• Brigid Bisley: Come Back Safely; audio 

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• Bisley: Come Back Safely 

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• Women Composers: Grenfell, Exley, Bisley 

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• Brigid Bisley: Come Back Safely 

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2*2*2* (doubling alto sax. in E flat) 2; 2200; 2 perc.; guitar (amplified); strings. Percussion: tam tam, bass drum, large suspended cymbal, wind chimes,glockenspiel, xylophone, bongos, 2 woodblocks (large and small), drum kit (including suspended cymbal, bass drum, small tom tom

Coming to It was commissioned by the Wellington Sinfonia (now Vector Wellington Orchestra) to collaborate with Sam Hunt. The poems and music speak from the heart about the everyday issues and concerns of ordinary people. There are poems about mothers, fathers, lovers, children and dogs. The poems touch on life and death, and the title incidents between that on the surface seem insignificant but have meaning for those involved. The scene is set in the opening poem, Coming to It. Some of the music is bluesy in character, as in the Plateau Songs, and some is folksy in style, as in A White Gentian, where the guitar and flute play a duet. Occasionally the music specifically describes the text, as in the hammering, migraine-like You House the Moon.

• Remember Parihaka - orchestral music by Anthony Ritchie  Year: 2009 

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The Violin Sonatina and the later orchestrated version, the Concertino, was composed over many years from 1962 to 1984. The piece is a favorite of the composer’s. It explores the wonderfully expressive nature of the violin.

• Twomey: Concertino; computer-set 

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• Twomey: Concertino; computer-set 

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• Twomey: Concertino (Opus 10a); computer-set 

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• Twomey: Concertino (Opus 10a); computer-set 

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• Ray Twomey: From the Garden of Eden 

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• Ray Twomey: Sinfonia  Year: 2001 

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• Parker: Concertino No. 1; computer-set 

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• Parker: Concertino No. 1; computer-set 

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• Brent Parker: Concertino no. 1 and no. 2 

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• Brent Parker: Credo, Guitar Concertinos, En France 

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• Brent Parker: Guitar Music from Ireland and Spain 

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2222; 2200; 2 perc (bass drum, side drum, glock, xylophone, sus. cymbal, strings (87652 approx)

The Double Concerto was designed to explore the unusal combination of solo instruments, extend the soloists and, at the same time, be performable by regional orchestras.

The opening movement has a lilting quality and is based on the Brahms’ lullaby, which only appears (abridged) at the end, played on glockenspiel. The three themes that appear in this movement are related, in some way, to this lullaby. The movement is dedicated to my daughter Annabelle, who was born some months before the composition of this work. A short melody based on letters from her name (A-A-B-E-E) is played by the soloists in the coda.

By contrast, the second movement is fast and jagged, with a somewhat playful second theme shared between the soloists and woodwinds. The main theme has a toccata-like quality, and builds up to a strong conclusion.

Whereas birth was the theme behind the first movement, it is death that concerns the third, and in particular the sudden death of a close friend and musician, Angela Campbell, at the time of writing this concerto. It is an intimate piece for the two soloists only, and based on letters from Angela’s name (A-G-E-A) which are heard at the beginning as a recurrent bass line. The cello melody at the start is a variation on a melody from the first movement, suggesting birth and death are inextricably linked.

The mood lightens in the finale which is a slightly bizarre waltz based on two contrasting themes. Near the end, the soloists have a cadenza which flows into the coda uninterrupted.

• Anthony Ritchie: Double Concerto for bass clarinet and cello - hire set 

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• Anthony Ritchie: Double Concerto for bass clarinet and cello - hardcopy score 

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• Anthony Ritchie: Double concerto for Bass clarinet and Cello 

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• Remember Parihaka - orchestral music by Anthony Ritchie  Year: 2009 

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1111; 1110; timp; perc: vib, xyl, tri; pf; strs

• Buchanan: Duo Concertante; facsimile 

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• Buchanan: Duo Concertante; facsimile 

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• Concertos: Anthony Ritchie, Dorothy Buchanan, Edwin Carr  

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2222; 4331; 3perc; pf; strings

Composed in 1996 to mark the 75th anniversary of the founding of the Eastman School of Music, Rochester, New York and incorporating melodies of significance to the school and to the Rochester community. Melodious, sentimental, good humoured music.

• Marshall: Eastman Overture; computer-set 

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• Marshall: Eastman Overture; computer-set 

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• Marshall: Eastman Overture 

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• Lodge: Hinterland; Marshall: Eastman Overture 

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• New Zealand Music: Marshall and Keay 

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