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• Buchanan: A Matter of Timing; computer-set 

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• Buchanan: A Matter of Timing; computer-set 

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• Dorothy Buchanan: A Matter of Timing 

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3333; 4330; timp, pf; celli and cbs.

• Farquhar: Bells in their Seasons; facsimile 

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• Farquhar: Bells in their Seasons; facsimile 

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• Farquhar: Bells in their Seasons; facsimile 

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• Farquhar: Bells in their Seasons; facsimile 

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piccolo, flute, oboe, cor anglais, clarinet, bass clarinet, bassoon 1 and 2, 3 horns, 3 trumpets, 2 trombones, bass trombone, tuba, timpani, 2 percussionists (crash cymbals, suspended cymbals, roto-toms, claves, rain stick, vibraphone), harp, strings and narrator

“I enjoyed performing and recording Eulogy very much. Such a warmth of texture and harmonies which created a sympathetic palette for Olivia Macassey’s word painting” – Kenneth Young

My decision to set this text for orchestra initially arose, not only from reading the poem and appreciating it for what it is, but also from the recent passing of a dear musician colleague with whom I had collaborated on many early jazz projects.

However, at time of writing, I have become most un-nerved by the senseless loss of young life that has been occurring with alarming regularity at a couple of schools I have recently taught at. It was with these tremendously sad, sudden passings in mind that I completed my work on the piano short score of Eulogy, before commencing work on its orchestration.

Yvette Audain

• Audain: Eulogy; computer-set 

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• Audain: Eulogy; computer-set 

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• Two works by Yvette Audain 

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• The APO Composers' Workshop 2010 

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flute, B flat clarinet, percussion, timpani, piano, strings; Characters: Miss Brill, middle-aged couple, young couple: 2 sopranos; 1 mezzo; 2 baritones (one is high baritone/low tenor); 2 non-singing roles

• Buchanan: The Mansfield Stories; computer-set 

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• Buchanan: Miss Brill; computer-set 

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• Buchanan: Miss Brill; computer-set 

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• Dorothy Buchanan: Two Operas 

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• Dorothy Buchanan: The Mansfield Stories 

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• Dorothy Buchanan: It Began with a Pony  Year: 1998 

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Taonga puoro (Maori instruments) one, or ideally two players, flute, oboe, clarinet, trumpet, trombone, piano, percussion, 2 violins, viola, 2 cellos, double bass; 6 singers (soloists)

• Whitehead: Outrageous fortune; facsimile 

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• Whitehead: Outrageous Fortune; facsimile 

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• Whitehead: Outrageous Fortune; computer-set 

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• Whitehead: Outrageous Fortune; computer set 

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• Gillian Whitehead: Outrageous Fortune  Year: 1998 

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(1)2122; 4331; timp., 3 perc (timp, sd-dr, cym, tri, xylo, tram bell, bus horn), hp; strs (10,10,8,6,4)

A concert overture for full symphony orchestra – this work captures “the bustle, the vitality and the peace” of one of Christchurch’s busiest arteries.

The composer’s son, Anthony Ritchie wrote:
“Dad composed this when I was at Varsity in Christchurch. Some years earlier we had moved to a new house next to Papanui Road – he still lives there – so I remember Dad wanting to write a piece that summed up experiences of that street – going back over a long past. There is a motif that represents our old cat, Shosti, sneaking through to the butcher’s on Papanui Road (no longer there, of course!). There is also a sad passage that is a short memorial to Reverend Botting, an old friend of Dad’s, who was killed on his bike, on Papanui Rd – I remember when that happened. The piece is quite personal and yet is likeable just as music.”

• Ritchie, J.: Papanui Road; facsimile 

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• Ritchie J.: Papanui Road; computer-set 

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• Ritchie J.: Papanui Road; facsimile 

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• Ritchie J.: Papanui Road; facsimile 

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• Ritchie J.: Papanui Road; facsimile 

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• Orchestral Music by Norman, Ritchie, Elmsly, Farquhar 

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• Aquarius: Music by John Ritchie  Year: 1998 

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soprano and mezzo soloists, string trio (violin, viola and cello) and alto flute with accompanying tape

Based on his grandmother’s diaries, the premiere of Philip Brownlee’s opera was reviewed by Alan Wells in The Listener. “Here, recorded natural sounds were juxtaposed with live ensemble, taped oral history and its artistically sung rendition, and youthful experience with aging memory.”

• Brownlee: Phyllis Remembers; computer set 

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• Brownlee: Phyllis Remembers; facsimile 

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• Brownlee: Phyllis Remembers; facsimile 

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  $13.00
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• Brownlee: Phyllis Remembers; facsimile 

  Score and parts | Hardcopy - facsimile
  

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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clarinet, bassoon, horn, percussion (2), piano, violin, viola, cello

• Farquhar: Shadow; facsimile 

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• Farquhar: Shadow; facsimile 

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• Farquhar: Shadow; facsimile 

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Five settings of poems for children by Fiona Farrell comprise this song cycle for a competent SATB choir a cappella. Light hearted and funny, they evoke audience laughter.

• Caskie: Ten Cent Mixture; computer set 

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• Caskie: Ten Cent Mixture; computer-set 

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• Caskie: Ten Cent Mixture; computer-set 

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