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• Jonathan Besser: Danceabout 

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• decadence - celebrating 10 years of Besser and Bravura 

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• New Zealand Composers On Screen 

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Using animal imagery to take us into the heart of the human condition, Inland charts the fragile equilibrium between shepherd, flock, dog and hawk. Inland is a dance-theatre work conceived and choreographed by Douglas Wright. The work was commissioned by the 2002 New Zealand Festival with funding from Creative New Zealand.

• Palmer: Inland 

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• Palmer: Inland  Year: 2002 

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Soundtrack to the second half of New Zealand School of Dance 2004 choreographic season Intimate Space at Te Whaea Theatre, Newtown, where it was electronically defused through the sound system.

• New Zealand Selection 1 

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• Premieres 2004, Vol. 7  Year: 2003 

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• Stephen Gallagher: Mathematical Geography  Year: 2004 

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• New Zealand Music for Creative Dance 

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• Scullion: Peaks to Plains  Year: 2000 

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New Zealand’s landscape has long been a source of inspiration for artists and composers. I was fortunate enough to have enjoyed frequent trips to the mountains when young, and I still remember them fondly to this day. I have written quite a number of works on the theme of New Zealand’s natural environment. So I was very pleased to be asked by the Dunedin Sinfonia (now Southern Sinfonia) and Natural History New Zealand to compose ‘Southern Journeys’.

After initial discussions in 1999, I was given freedom to come up with my own ‘synopsis’ for the piece. The music was to be written first, and then recorded by the Dunedin Sinfonia so that images could be put to the music. This was a considerable luxury for the composer, as normally the film is made first and later the music is written to fit the images. Natural History was insistent that I should compose my music without the restriction of specific images, and for that I am very grateful.

Although Southern Journeys is programmatic, I have attempted to incorporate a symphonic logic into the music. Themes are developed and transformed, and there is an element of cyclic form with the return of the opening theme at the very end of the work. Ideally, the music should be able to stand alone without film, and still make sense.

The first movement is subtitled ‘Ancient South’ and portrays southern landscape, particularly remote areas such as mountains and sounds. The land is constantly being changed by water, snow and wind, the most dramatic example being the effects of avalanches. In the second movement, ‘Southern Adventures’, humans interact with Nature, at sea, in caves, on rock faces, in the air. Although these adventures are often difficult and treacherous, we feel exhilerated by this risky communion with Nature. The third movement, ‘Seasons in the South’, begins with the stillness of lakes and forests in Autumn, and moves on to explore southern bird and sea life. Winter announces its arrival with a storm, followed by the thawing of snow and ice and the first signs of Spring. The last movement, ‘Our Place’, explores our own environment and contrasts it with the natural environment we have witnessed in the previous movements. A note of caution is sounded: we cannot take the natural beauty of the South for granted. We have to respect and care for it, so as to maintain the balance between our needs and the needs of Nature. At the end of the movement a harmony exists between the beautiful aspects of a city like Dunedin and the natural environment.

Southern Journeys received financial assistance from the Millennium Fund and Natural History New Zealand.

• Anthony Ritchie: Southern Journeys  Year: 2000 

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• Anthony Ritchie: Southern Journeys  Year: 2002 

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• Scullion: Springsound  Year: 2001 

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In my work as a composer I have found bringing together classical and jazz musicians to be a rich and unique way of working. I have experience in both fields and my compositional talent and interest lies genuinely across the two art forms.

This piece has been specifically composed for these performers and their unique sets of skills. Each performer is of a very high calibre and each possesses something special and unique in their playing and approach to music making. Mike Kime and Reuben Derrick often have moments of freedom as they are both accomplished improvisers. Gretchen Dunsmore and Mark Le Roche are classically trained performers with excellent skills and intelligent ears and minds. I knew that each of them would bring something to the work that would be unique and exciting.

More recently my creative interest in movement and form has expanded to contemporary dance and I wanted to involve and include another artistic discipline in this work. Collaborating with Julia Milsom has been an exciting new venture for me. The nature of the sounds within the piece are highly applicable to contemporary dance and have been interpreted and expressed with considerable talent and skill by Julia.

Layers of sound in time is a theme I have developed extensively in the piece. The layers interact, evolve, contrast, compliment, and conflict with each other to create a depth of space and time between them.

The work is an exploration of the timelessness that comes in moments of deep introspection through evocative sounds and movement.

Alex van den Broek

• van den Broek: Still Standing Silent; computer-set 

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• van den Broek: Still Standing Silent; computer-set 

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• Alex van den Broek: Still Standing Silent; video 

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• Alex van den Broek: Still Standing Silent  Year: 2009 

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• Ritchie A.: The God Boy; Computer Set 

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• Ritchie A: The God Boy; computer-set 

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• Ritchie, A.: The God Boy; computer-set 

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• Ritchie A.: The God Boy  Year: 2004 

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• Anthony Ritchie and Jeremy Commons: The God Boy  Year: 2004 

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• Opera Otago: The God Boy by Anthony Ritchie  Year: 2004 

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• New Zealand Composers On Screen 

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