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• Farquhar: Concerto for Wind Quintet; facsimile 

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• Farquhar: Concerto for Wind Quintet; facsimile 

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• Concertante Ensemble - Wind Quintets  Year: 1980 

  Vinyl (LP or EP)
  

• Rimmer: Crow; electroacoustic part 

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• Rimmer: Electronic Sounds 

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  $15.00
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• Rimmer: Crow; facsimile 

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• Rimmer: Crow; facsimile 

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The Flute Concerto was composed for flutist Alexa Still (Principal flute, NZSO) in 1993 while Ritchie was Composer-in-Residence with the Dunedin Sinfonia (now Southern Sinfonia). Unlike the Symphony “Boum” , written in the same year, this concerto is a generally happy and open-sounding work, and reflects aspects of Alexa Still’s personality as well as her playing. She first performed the concerto on September 4th, 1993 in The Glenroy Auditorium, and subsequently recorded it with The New Zealand Symphony Orchestra.

• Ritchie A.: Flute Concerto; computer-set 

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• Ritchie A.: Flute Concerto (2nd Mvt); computer-set 

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• Little Dancings - a selection of flute music by New Zealand composers  Year: 1998 

  Score and parts | Hardcopy - computer set
  
  $35.00
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• Anthony Ritchie: Flute Concerto - hardcopy score & parts  Year: 1999 

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A work in five movements for flute and piano. Each movement explores an aspect of rhythm. The three main movements are separated by two short interludes – based on the classical minuet and a Thai drum dance respectively.

• Blake: First and Second Interludes from "Little Dancings"; computer set 

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• Blake: Little Dancings; facsimile 

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• Little Dancings - a selection of flute music by New Zealand composers  Year: 1998 

  Score and parts | Hardcopy - computer set
  
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• Taurangi - New Zealand Music for flute and piano  Year: 2004 

  CD
  
  $35.00
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Nga ha o nehera, which translates from the Maori language as ‘a breath from the past’, was commissioned by and written for Ben Hoadley, with financial assistance from the Becroft Trust. Ben Hoadley gave the piece its first performance at the International Double Reed Convention in Melbourne in 2004. Nga ha o nehera is a five-movement suite, written after a taonga puoro wananga at Ohinemutu on the shores of Lake Rotorua. The first movement is ‘Nga ha o nehera’, meaning a breath from the past, the second, ‘puna wera’, describes the continual welling up of hot water from a spring at the edge of the lake, and the third, ‘Mokoia’, suggests the soundscape of Mokoia Island, which, as well as a major historical site, is also a bird sanctuary. The fourth movement He purakau, recounts a folk-story – not a specific tale, but suggesting the elements of all strong stories, and the last movement, ‘Ohinemutu’, locates the piece in place, and suggests something of the story of Hinetekakara, the ancestress of the Te Arawa people, whose untimely death gave the place its name.

• Whitehead: Nga ha o nehera; computer set 

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• Whitehead: Nga ha o nehera; computer-set 

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• Tuhonohono 

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• Tuhonohono: Music by Gillian Whitehead 

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• Gillian Whitehead: Arapātiki CD  Year: 2012 

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This work was originally for soprano saxophone and orchestra written in 1996, and was re-arranged for oboe and piano in 2002.

The first movement was inspired by cartoon characters and has a quirky quality. The middle slow movement is soulful and lyrical. The third movement begins sternly before morphing into a wistful waltz, which in turn changes into a fast, lively tempo.

• Ritchie, A.: Oboe Sonata; computer-set 

  Score and parts | Pdf - computer set
  

• Ritchie, A.: Oboe Sonata; computer-set 

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• Diversions - Autour du hautbois  Year: 2010 

  CD
  
  $25.00
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The music of Pygmy groups of the rain forests of Central Africa is among the most beguiling of the world’s music traditions, with its characteristic melodic leaps, rich polyphonies, and flights of astonishing virtuosity. The ancient Egyptians greatly admired the musicality of the Pygmies, and Pygmy musicians were often attached to the courts of the Pharaohs.

These transcriptions/reinterpretations are based on Simha Arom’s recordings of the music of two Pygmy groups, the Aka and the Ba-Benzele. The following notes relate to the original recordings.

• Body: Rainforest; computer-set  Year: 2007 

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• Adrianna Lis: Rozmowa / Dialogue  Year: 2012 

  CD
  
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In 1994 I kept a musical diary. At the time I had been in Slovenia for a year and, being a saxophonist myself, I was practising the saxophone most days but did not have a lot of contact with other musicians. Perhaps it was natural that this diary took the form of a rather inward looking set of pieces for solo saxophone. The result was a set of pieces concerned equally with saxophone technique (more specifically, with my own technical explorations at the time) and the compositional problems that I was then concerned with.

The saxophone techniques employed will be obvious at first listening. They include multiphonics (especially the filtering of multiphonics), quarter tones, an extended pitch range and an extended palette of dynamics and articulations.

As a composer, I was working on a graphic system for notating dynamics, which allowed dynamic “shapes” to be much more structurally significant in my music. New notations were also employed for microscopic pitch changes and for rhythm. The organisation of pitch is an ongoing concern for most composers and each of the pieces in this collection reflects a slightly different approach to this problem. Some of the solutions worked out here were later applied to larger scale pieces. The use of silence is another area that has often attracted my attention. In the third piece of this collection I have tried to “foreground” silence by introducing an alternative element as the “ground” of the piece.

Apart from these compositional concerns there is the central problem of building form with sound, which is particularly acute when writing for a single instrument. I have tried to avoid linear formal processes, preferring to disperse the unfolding of events, often resulting in a kind of spiral motion where a variety of elements are developed more or less simultaneously.

• Hall: some points in time, book I; facsimile 

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• Moon: Quasi recitative from "Sonata for Flute and Piano" 

  Full score | Pdf - computer set
  

• Moon: Sonata for Flute and Piano; facsimile 

  Score and parts | Hardcopy - facsimile
  
  $20.00
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• Little Dancings - a selection of flute music by New Zealand composers  Year: 1998 

  Score and parts | Hardcopy - computer set
  
  $35.00
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In writing this work, the composer felt that whether by accident, design, or outright thievery, he drew influence from musical sources besides his own imagination. To that end, he would like to thank (in order of first appearance):
John Ritchie, John Elmsly, Douglas Lilburn, Claude Bolling, the Roy Hargrove Quintet, The Bad Plus, Dmitri Shostakovich, Rickie-Lee Fray (age 4), Radiohead, Sergei Prokofiev, Maurice Ravel, Sarah McCallum, Eve de Castro-Robinson, Mad Caddies, Witold Lutosławski, Gustav Mahler, Chick Corea, Elliott Carter, Robbie Ellis, Ludwig van Beethoven, Claude Debussy, a dead German, Kaikhosru Shapurji Sorabji, The Benka Boradovsky Bordello Band, Metallica, Francis Poulenc, Scott Joplin, Jerry Bock, Dave Brubeck, Family Guy, Slayer, a dead Spaniard, Gogol Bordello, The Cat Empire, David Rose, Jonny Doom and The Forcefields, a dead Austrian, a dead Russian, a dead Czech, the opening night cast of Improv: The Secondary School Musical, and The Army Of Skeggs.

• Ellis: Sonatina for Clarinet and Piano; computer-set 

  Score and parts | Pdf - computer set
  
  $23.00
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• Ellis: Sonatina for Clarinet and Piano; computer-set 

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• Ellis: Sonatina for clarinet and piano; computer-set 

  Full score | Hardcopy - computer set
  
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• Ellis: Sonatina for clarinet and piano; computer-set 

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  $23.00
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• Robbie Ellis: Sonatina for clarinet and piano; audio 

  Media on Demand | Embedded
  

• New Works for Clarinet and Piano - Anna McGregor and Buz Bryant-Greene 

  CD
  
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• New Works for Clarinet and Piano - Anna McGregor, Emma Sayers and Buz Bryant-Greene 

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• Robbie Ellis: Sonatina for Clarinet and Piano 

  Digital sound file - MP3