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fl. (3-3rd dbl picc.), ob. (3-3rd dbl CA), cl. in A (3-3rd dbl bass cl.), bsn (3-3rd dbl contra.), alto sax.; 4,3 (trumpets in C), 3,1; timp., perc. (5), hp, cel., pno; strings. Percussion includes tri., tambourine, sus. cymbal, clash cymbal, gong, xylophone, glock., bells, woodblk, claves, rattle, whip, side drum, bass drum.

• Lilburn: A Birthday Offering; computer-set  

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• Lilburn: A Birthday Offering; facsimile  Year: 1991 

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• Douglas Lilburn: A Song of Islands  Year: 1987 

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• Lilburn: Prodigal Country  Year: 1987 

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• Lilburn: Prodigal Country  Year: 1987 

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• Douglas Lilburn: Orchestral Music  Year: 1995 

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• Douglas Lilburn: Orchestral Works   Year: 2004 

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3333; 4231; timpani, celeste, 3 perc.; strings

Cycles that hop is the literal translation for ‘ccycclohhopps’. ‘ccycclohhopps’ is a musical escapade portraying a carnival atmosphere. Using the brilliance of the glockenspiel, the transparency of the celeste, and a collage of mixed timbres, themes and styles, ‘ccycclohhopps’ takes the listener through an eccentric orchestral landscape.

• Stabler: Ccycclohhopps; computer-set 

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• Stabler: Ccycclohhopps; computer-set 

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• Stabler: Ccycclohhopps; midi 

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(1)2(1)2(1)2(1)2; 43(1)21; timp.;3 perc.; harp; strs

• Harris: Cento; computer-set 

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• Harris: Cento; computer-set 

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• Ross Harris: Cento; audio 

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pic,233,bass,2,CB; 4221; perc:3; strings

• Meridan: Firecracker; computer-set 

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• NZ Women Composers Vol. 2 

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• Fanfares for a New Millennium  Year: 2000 

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(1)222(1)2; 4331; timp,perc,pf; strs.

• Music by Edwin Carr (Volume 2)  Year: 1979 

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• Edwin Carr: Orchestral Music  Year: 1995 

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3333; 4331; 3perc, timp, hp, pf;strs

This orchestral work was commissioned by the Gisborne Community Arts Council for the New Zealand Symphony Orchestra and celebrates 100 years of work by the Salvation Army in New Zealand. The work derives, although not obviously, from two tunes associated with the Salvation Army and the nature of the piece is that of an exclamation.

• Cresswell: O!; facsimile 

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• Cresswell - Two Works 

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• Lyell Cresswell: Orchestral Music 2  Year: 1992 

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2222; 0200; 1 perc; strings

The starting point for this piece was a curiosity in the metal doors that covered the entrances to cells imbedded in the cliffs near Andersons Bay inlet, in Dunedin. A friend informed me that during the 19th century Maori prisoners were kept there at night, and worked on the Dunedin Harbour land reclamation during the day. Some of these prisoners were brought down to Dunedin from Taranaki in the North Island, as a result of the conflict in 1881 at Parihaka.

Upon reading Dick Smith’s book Ask that Mountain – The story of Parihaka I learned of one of the most shocking incidents in our country’s history. The land wars of the 1860s provoked a new approach from Maori to the protection of their lands. Te Whiti, Tohu and their followers at Parihaka combated the Pakeha land grab by organising passive resistance through a variety of means. In response to unauthorised land confiscation Te Whiti ordered the ploughing of fields, building of fences and planting, all of which impeded the surveyors who wished to carve up the land for settlers. Many were arrested, offering no struggle, and soon prisons around the country were full. Despite the many injustices Te Whiti maintained his policy of passive resistance to the end. In November 1881, government troops entered Parihaka with guns and artillery. They were greeted by Maori women and children chanting songs, but no armed struggle. Te Whiti and Tohu were taken away, the Pa was broken up, and hundreds sent away to prison. Despite a press blackout, two reporters were smuggled into the Pa, one commenting that “it was one of the saddest and most painful spectacles I have witnessed”.

Remember Parihaka attempts to sum up my thoughts and feelings about the events at Parihaka. The slow opening is peaceful, like a sun rise, with melodic fragments that slowly unfold into a fuller, more passionate statement. Flutes and oboes announce a chant-like theme, based on an actual song composed at the time of the incident. This ‘Maori’ theme alternates with a more European-sounding theme on solo violin, accompanied by an Irish drum, the bowron. At the heart of the piece the various melodic ideas come together over a grinding, relentless bass, building to a climax. In the short postlude, the peace of the opening is suggested, but now it is tinged with sadness, and a slightly uneasy feeling.

Remember Parihaka was first performed in 1994, under the baton of John Hopkins.

• Ritchie, A.: Remember Parihaka (hire set); computer set 

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• Ritchie, A.: Remember Parihaka; computer-set 

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• Ritchie, A.: Remember Parihaka; computer-set 

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• Ritchie A.: Remember Parihaka; cassette  Year: 1994 

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

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2222; 4330; timp, perc, pf; strings

• Pruden: Taranaki Overture; facsimile  Year: 1988 

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• Larry Pruden: Taranaki - overture for orchestra 

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• Music by Larry Pruden  Year: 1974 

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Y2k Pacemaker is an attempt to reflect some of the increasingly frenzied apprehension associated with the coming millennium, and more specifically, the “year 2000 computer bug”. Whether computer failures will cause a slight inconvenience or be a major disruption to life seems largely a matter for conjecture. However, I find the escalating alarm (sometimes exacerbated by scaremongers) and often ensuing bizarre reactions a fascinating aspect of our psychological makeup. The main idea behind the work is a measured increase in tempo which culminates in some frenetic activity. The musical texture incorporates ordinary scalic movement and has been derived from a simple octatonic scale. (The computer on which I wrote this work is ‘year 2000 compliant’ !) I would like to thank the Auckland Philharmonia for the opportunity to write “Y2k Pacemaker” and have long admired the orchestra’s commitment to New Zealand music.

• Cree Brown: Y2K Pacemaker; computer-set 

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• Fanfares for a New Millennium  Year: 2000 

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