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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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This work was written before and after a visit to Colyton, where a cousin of the composer has a farm, and whose daughter was playing ’cello in the orchestra at the time. He intended the work to reflect the rural open spaces that provide welcome relief for a city-dweller.

• Hinds: Colyton Overture; facsimile 

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Flute Concerto No. 1 was written during 1987 for The Nova String of Wellington and their flute soloist, Karen Batten. This group gave the first public performance of this concerto at The Laings Road Methodist Church, Lower Hutt, during July 1988.

• Biddington: Concerto for flute and string orchestra; facsimile 

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• Biddington: Concerto for flute & string orchestra; facsimile 

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• Eric Biddington - Flute Concerto No.1 

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• Biddington: Flutes Concertos and Chamber Music  Year: 2001 

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This musical analogy to the physical phenomenon of light breaking up is written in a pointillistic style, with sinuous melodic fragments leaping across the piano keyboard in jagged cross-rhythmic dancing. Angular counter- melodies are provided by a chamber orchestra of single winds and brass with 14 strings in this single movement.

The idea of diffractions is represented in sound by the piano, central and prominent, exploiting an aspect of its technique to which it is ideally suited: rapid changes of direction and wide intervallic leaps with extreme dynamics. The orchestra provides bands of coloured spectra forming an integrated texture. The melody, oscillating and colourful is sometimes pointillistic and at other times it flows into longer continuous phrases.

Diffractions is essentially an abstract work in one continuous movement.

• Keay: Diffractions; facsimile 

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• Keay: Diffractions; facsimile 

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• Music by Nigel Keay 

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• Nigel Keay - Various Works 

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This work was commissioned by Auckland accordionist, Harley Jones, for performance in New York, August 1988, but was premiered in Auckland in 1987. In the first two years it received 36 performances worldwide and was recorded by the New Zealand Symphony Orchestra with Harley as soloist. Performed frequently internationally, several other recordings have been made of this work. Rhapsody combines the sensitivity, expressive and distinct tone colours of the accordion with the full power of a symphony orchestra.

• Daverne: Rhapsody for Accordion and Orchestra; computer-set 

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• Gary Daverne: Youth of Auckland 

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• Gary Daverne: Orchestral Music  Year: 1981 

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• Gary Daverne: Rhapsody  Year: 2007 

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• Kenneth Young - orchestral music  Year: 1998 

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A piano concerto in three movements. The work is based on the Maori creation legends. Each movement depicts a stage in this mythology – the coming of existence, the coming of life and the coming of death. Recorded by the Auckland Philharmonia Orchestra with pianist Michael Houstoun.

• Blake: The Coming of Tane-Mahuta; facsimile 

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• Auckland Philharmonia: New Zealand Music 2  Year: 1990 

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Te Puoho, friend and ally of Te Rauparaha, invited the Rangitane chief Mahuri and his people to a feast at Kukutauaki in return for previous kindnesses. Kukutauaki stood in the middle of an area hostile to the Rangitane people. On his way to the feast Mahuri was warned of the danger of entering territory controlled by the powerful and dangerous Te Rauparaha whereupon he replied: “It is the boast of Te Puoho that he will not have his forehead smeared with blood.” After the feast at which a new kind of food, the pumpkin, was introduced, the guests were invited back to Maimea, at the mouth of the Waikanae River, and massacred – most likely at the prompting of Te Rauparaha. This work was composed in 1987, commissioned and first performed by the New Zealand Chamber Orchestra, conducted by Anthony Jennings. It has been reviewed as, “sheer instrumental drama launched on a sea of seething, trilling strings.”

• Cresswell: The Pumpkin Massacre; facsimile 

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• Cresswell: Orchestral Works 

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• Waiteata Collection of New Zealand Music Vol. 2 - Chamber Music  Year: 1997 

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• Sound Barrier  Year: 2006 

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• Charles: Utu; facsimile 

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• Charles: Utu; computer-set 

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• Charles: Utu; computer set 

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• Charles: Utu; computer-set 

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• Charles: Utu; computer-set 

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