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Originally called A Song of Tamatea, this work was revised in 2000 to become An Offering for Parihaka.

• Hamilton: A Song of Tamatea; facsimile 

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• Hamilton: An Offering for Parihaka; computer set 

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• Hamilton: An Offering for Parihaka; computer set 

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• David Hamilton: A Song of Tamatea 

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• Parihaka 

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A setting of Wilfred Owen’s powerful poem describing life in The Trenches in France during the 1914-1918 war. Both a lament and a protest it calls for a deeply felt interpretation.

• Caskie: Anthem for Doomed Youth; computer-set 

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• Caskie: Anthem for Doomed Youth; facsimile 

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• Whitehead: Antiphons; facsimile 

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• Whitehead: Antiphons; facsimile 

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• Harris: Arquebus; computer set 

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• Harris: Arquebus; computer-set 

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• Harris: Arquebus; computer-set 

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• Aucott: At the Fair; computer-set 

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• Aucott: At the Fair; computer-set 

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

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An “aubade” is a morning song; counterpart of a nocturne, it is literally a “song of the dawn.” The brightness of this Aubade is in simplicity, calmness, and tonal warmth. Written as an afterthought to the Rococo Sonatina, it shares some of the same influence of light jazz and impressionism, yet melded more to a modern chamber music aesthetic than an ancient one.

The piano opens with a simple three-note theme over a calm progression of seventh chords. Echoed by the flute, the theme develops into a more flowing and graceful line, ultimately resolving on a wistful note. A brisk, bird-like section follows, elevating the mood as the flute flutters and the piano scurries. A pensive cadenza leads the music back to the serene calm of the introduction, which leads to a final jazz progression that concludes the music in a different key.

• Goss: Aubade; computer-set 

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• Goss: Aubade; computer-set 

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• Thomas Goss: Aubade 

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• Biddington: Autumn Music; facsimile 

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• Eric Biddington: Tunes and Airs  Year: 1998 

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‘Beginnings’ was commissioned by Auckland Philharmonia. It was inspired by the birth of Ritchie’s son Tristan. It depicts the slowly mounting tension of the labour, through to the birth itself. There is a gradual growth in the music from small, delicate gestures into wild and pulsating ones towards the end. The child is represented by a ‘little Tristan waltz’ which eventually gets caught up in the musical frenzy. The waltz sequence imposes order on the music, which tends to be fragmentary and changeable. There are some echoes of Bartok and Debussy in this early work, and it presents a good challenge for a professional orchestra.

• Ritchie A.: Beginnings ; Facsimile 

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• Anthony Ritchie: Beginnings; audio 

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• Auckland Philharmonia Orchestra: New Zealand Music 1  Year: 1990 

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• Besser and Prosser: Forms...Gestures Vol 2  Year: 1987 

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• Besser and Prosser: 2 Islands  Year: 2004 

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Bright Forms Return written in 1980 while I was composer-in-residence for Northern Arts (UK), is one of the first pieces I wrote that is concerned with landscape (and sea-scape). I was living in Northumberland, on the moors north of Newcastle, very near the house where Kathleen Raine had spent her childhood. When I was asked to write a piece for the Cumbria Quartet and mezzo-soprano Elizabeth Lamb, Raine’s poetry was an obvious choice, as its northern imagery was very familiar to me.

Although the piece is designed as a single entity, the quartet falls into four clearly-defined sections in its setting of the four short poems. The vocal writing is relatively simple (rhythmically at least), and the writing for the quartet sometimes reflects the poetic imagery or mood, and is sometimes derived from the formal structure of the poems. The text, which comes from The Oval Mirror published by Hamish Hamilton, is used with the kind permission of the author and her publishers.

• Whitehead: Bright Forms Return; computer-set 

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• Whitehead: Bright Forms Return; facsimile 

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• Whitehead: Bright Forms Return; facsimile 

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