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This composition is a setting of a poem by the Australian philosopher, poet and musician Melvyn Cann. The first part describes a spiritual journey through suffering to transcendence and peace. The second part describes a state of consciousness where both thought and time cease, and only feeling remains.

• Cowdell: A Place of Quiet; facsimile 

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• Buchanan: A Suite of Melodies - Themes for Friends; facsimile 

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• Hamilton: And Music Shall Untune the Sky; facsimile 

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• Hamilton: And Music Shall Untune The Sky; facsimile 

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• Barry Anderson: Arc 

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• Barry Anderson: Arc  Year: 2001 

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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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• John Rimmer: Centrifugues - hardcopy score  Year: 2009 

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• Seaswell  Year: 1992 

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• Perkins: Composition in Red; facsimile 

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• Perkins: Composition in Red; facsimile 

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The main theme of the first movement is built on a deliberately ‘square’ 4 note scale figure; this is interlaced with perfect 4th ‘wobbles’ and triplets and together they weave tonal games in a capricious journey.
Four rich chords (all essentially triads with added semitones) which open out, bloom and close again are the flowers displayed in the tranquil second movement, and for the final a jaunty but restrained dance through various tonalities grows out of the subtle thematic combination of notes from both C and F sharp, normally the most distant keys.

Notes taken from Ritual Auras, Atoll CD (ACD 842)

• Farquhar: Concerto for Six; facsimile 

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• Farquhar: Concerto for Six; facsimile 

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• Farquhar: Concerto for Six; facsimile 

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• Ritual Auras - Karlheinz Company  Year: 2011 

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• de Castro-Robinson: Conundrums; facsimile 

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• de Castro-Robinson: Conundrums; facsimile 

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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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