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Bele Doette (‘Lovely Doette’) is based on an anonymous 12th century Chanson de Toile. The vocal line follows the original song-line closely for two of the eight stanzas and refrains.

Doette is at a window, reading, when she receives the news that her friend Doon has been killed in a jousting contest. The refrain reads “See now what grief I have”, and at the end she vows to become a nun in the church of St Paul. The original transcription of the song is published in the Anthology of Medieval Music, edited by Richard Hoppin (1978). Pitches are notated in the transcription but no rhythm. Therefore, rhythm is freely interpreted while the original melismas and word setting are maintained. The refrain is expanded beyond the original. The oboe has a dual role. First, it freely develops motifs based on the song-lines by a process using magic squares. These motifs are used in the introduction and interludes between stanzas and refrains. Second, the oboe has a dialogue with the soprano that involves imitation and decoration, particularly in the refrains.

Bele Doette was commissioned by Pepe Becker, and written for her and oboist, Robert Orr. It has been composed as part of Ritchie’s research at the University of Otago.

• Ritchie, A.: Bele Doette; computer set 

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• Ritchie, A.: Bele Doette; computer-set 

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• Anthony Ritchie: Bele Doette; audio 

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• Becker; From the far point of the rising of the sun (Part I)  Year: 2005 

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A karanga is a call which begins the Maori ceremony or welcome, the powhiri. Traditionally the karanga is performed by the women. It is an indication that the visitors (the ‘manuhiri’) should begin to move forward on the marae.

“The start of he karanga indicates to a visitor that they are free to approach their hosts across the marae atua (sacred space directly in front of the meeting house). The call also clears a spiritual path for the ancestros of both the visitor and host and meet and partake in the ceremonial uniqueness of the powhiri.” (from www.newzealand.com)

The karanga also includes acknowledgment of ancestors and may allow the visitors to identify where they have come from.

Although my work picks up on some of these traditional karanga elements, it is not intended to be a representation of an actual karanga or powhiri. The text is drawn from several sources, and includes some typical traditional karanga calls. In the music, the female voices represent the hosts and the male voices represent the visitors, although at times (for purely musical reasons) this distinction is blurred.

The women’s text is founded on the call of “Haere mai!” (“Welcome!”), and the men’s text of “Karanga mai!” (“Call!”). THese two phrases recur throughout the work, often underpinning other texts. Although the two groups often call back and forth to each other, at times the two groups also perform together, super-imposing their respective texts. Towards the end of the work the two groups come together and the work ends with all singers presenting the same text.

Musically, the work begins by using rhythmic ideas which suggest traditional chant. No actual traditional chants are used however. A feature of a karanga is the unbroken line of sound which passes from singer to singer. Much of the remainder of the work uses a rich palette of tonal harmonies often moving slowly from chord to chord. The piece includes a part for conch shell player, an instrument also associated with calling to visitors and welcoming them.

Karanga was written for The Graduate Choir and their conductor Terence Maskell

David Hamilton

• Hamilton: Karanga; computer set 

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• Hamilton: Karanga; computer set  Year: 2005 

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• A Sound Came from Heaven  Year: 2007 

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• Statham: Pastorale; computer-set 

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• Statham: Pastorale; computer-set 

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• In Retrospect - Quintets, Quartets and Trios by Keith Statham 

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• Keith Statham: ...of wine and roses  Year: 2011 

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So It Goes is inspired by a style of fiction which forms its plot through recollections of fragments of events. This has an effect of chasing thoughts and ideas around the author’s mind, while maintaining a strong sense of unity throughout the work’s discourse. This also amplifies a feeling of intimacy with the author, like a conversation with a great storyteller. This sensation manifests musically in So It Goes as a whirlwind journey through a number of textures, colors and ideas.

• Gendall: So It Goes; computer-set 

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• Gendall: So It Goes; computer-set 

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• Two Works by Chris Gendall 

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• New Zealand Premieres Volume 2 

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• NZSO and Todd Corporation Readings 2005  Year: 2005 

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• Passing - Asia Pacific Festival 2007  Year: 2009 

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Toccata for Orchestra is a virtuoso showcase overture that encompasses dark sinister elements which undergo vast transformations. Its dark opening theme changes into a cheesy jazz melody, to a flatulent brass passage then to a violent climax. The ending is a loud juxtaposition of darkness and cheese similar to the tuning of a radio when it is receiving two frequencies at the same time. In the end the melody takes the focus with every instrument playing at full noise.

• Powdrell: Toccata for Orchestra; computer-set 

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• Powdrell: Toccata for Orchestra; computer-set 

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• Powdrell: Toccata for Orchestra 

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