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(1)2222; 2200; xylo,bs-dr, pf; strs

The Hanging Bulb consists of a continuous movement, divided into four sections: slow, fast, slow, fast. Sections 1 and 2 are thematically related, as are sections 3 and 4, so the structure could be described as a double couplet. The work expresses particular emotional and psychological states of mind, encapsulated in the title of the work which is an image of despair. Hanging light bulbs have been associated with despair and obsession in the world of art and in the real world. They became a significant image to the composer at the time of writing this piece, which was not born in happy circumstances.

Tension in the music is created through extensive use of the octatonic scale, bi-modal effects and thickly layered chords (such as occur near the end). The xylophone and bass drum are used as symbols of cruelty, while the piano has an important ‘personal’ statement in the first section. The last section has an obsessional quality which is expressed through repeated rhythms and motifs.

A music resource for secondary schools is available for this work from SOUNZ.

• Ritchie A.: The Hanging Bulb; computer-set 

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• Ritchie A.: The Hanging Bulb; facsimile 

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• SOUNZ Orchestral 1993 

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• Ritchie A.: The Hanging Bulb 1992 

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• Works for Orchestra: Young, Harris, Blake, Ritchie 

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• Farr and Ritchie: Pembuka'an, The Hanging Bulb 

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• New Zealand Composers  Year: 1995 

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2222;2220;(no perc);strs.

• Harris: The Hills of Time; computer set 

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• Harris: The Hills of Time; computer set 

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• Harris: The Hills of Time; computer-set 

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• Harris: The Hills of Time; facsimile  Year: 1983 

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• Works for Orchestra: Young, Harris, Blake, Ritchie 

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• Harris: The Hills of Time 

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2 fl, 2 ob (2nd doubling c.a.), 2 cl, bsn, cbsn 4 hn, 3 tpt, 2 tbn, b.tbn, tba timp, 2 perc (Triangle, Mark Tree, Large Metal Oil Barrel, Clash Cymbals, Wooden Floor, Sleigh Bells, Suspended Cymbal, Snare Drum, Bass Drum) harp, strings

Walter Bolton was the last man executed for murder in New Zealand, hanged at Mt Eden Prison on 18 February 1957. He was convicted of poisoning his wife Beatrice with arsenic on their Whanganui farm.

The story of his trial, questionable guilt and subsequent execution continues to raise many questions. Is it right to take a person’s life in exchange for another? What if society’s judgement was wrong? Would our society have made the same judgement today?

But even more compelling than these moral questions is why a man like Walter Bolton would have been driven to murder in the first place. The prosecution contended that he had deliberately put sheep dip in her food; however arsenic was also found in the farm’s water supply – probably because it had leeched in from the normal daily use of that same sheep dip. The clincher for the jury’s guilty verdict was Walter’s admission that he had been having an affair with his sister-in-law, Florence – salacious but ultimately only circumstantial evidence. The decision to execute him was rushed: the trial took place shortly before Christmas 1956 and the judge and jury would have felt pressed to make it home to their families. Up until his death, Walter continued to maintain his innocence. Florence, a spinster, committed suicide soon after his execution and was rumoured to have left a note admitting to the killing.

This combination of our script and music is a fictionalised interpretation of these historical circumstances. We have put Walter Bolton in his Mt Eden Prison cell in the early dawn hours before his execution. His mind wanders to his deceased wife Beatrice, his lover Florence, and the grotesque pantomime of the judicial system as he saw it. In The Lover’s Knot, he awaits the hangman’s noose.

• Ellis: The Lover's Knot; computer-set 

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• Ellis: The Lover's Knot; computer-set 

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• Ellis: The Lover's Knot; computer-set 

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• Ellis: The Lover's Knot; computer-set 

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• The APO Composers' Workshop 2010 

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3333; 4231; timpani, three percussion players: vibes, 3 tam tams, 3 suspended cymbals, 3 triangles, 5 woodblocks, maracas, bamboo chimes, metal chimes, bass drum, 5 toms, bongos, whip, large guiro, cabassa, thunder sheet with pickup microphone connected to a portable amplifier; harp; strings

‘The Third Dream’ is the one of a series of works exploring the nature of memory and dreams. In this piece, the ‘dreamer’ is the earth itself, recalling an episode in its own history. Emerging from the primordia of a barely audible heartbeat, to which it ultimately returns, the work draws on the full resources of the symphony orchestra to build organically from delicate stirrings to a physicality of volcanic intensity. ‘The Third Dream’ has been recorded by the New Zealand Symphony Orchestra for Radio New Zealand.

• Ker: The Third Dream; facsimile 

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• Ker: The Third Dream; computer-set 

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• Ker: The Third Dream; computer-set 

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• Ker: The Third Dream; facsimile 

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2301; 1210; 2 alto saxophones; percussion: Drum kit ( Bass drum, low tom-tom, high tom-tom, side drum - with and without snares, cymbal, hi-hat, ride cymbal, gourd), triangle, claves, cabasa; strings: violins, cellos & basses Substitute instruments may be considered

• McKenzie: Theme and Variations for Orchestra; computer-set 

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• McKenzie: Theme and Variations for Orchestra; computer-set 

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3333; 4331; timp, 3 perc.; harp, celeste, strs

• Lardelli: Three Colours; computer-set 

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• Dylan Lardelli: Three Colours 

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2*222; 2221; harp; timp.; perc. (glock., snare drum, bass drum, triangle, thundersheet); strings

• Schulz: Transmigration - Reincarnation of a Nightmare; facsimile 

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• Schulz: 'Transmigration - Reincarnation of a Nightmare'; facsimile 

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(1),2,2,2,2; 4,3,3,1; hp, timp., 3 perc. (side drum, bass drum, hand drum, log drum, sus. cymbals, crash cymbals, tambourine, xylophone, rain tree, wind chimes, tam tam, glock.); strings

Composed over 9 days in 2003, the idea of writing a piece of music with such a title developed while writing, over a ten year period, an opera based on the life and hardships of Wesleyan and Anglican missionaries in the South Pacific. The setting for this opera is mainly in the northern region of New Zealand in the 1830s, leading up to the signing of the Treaty of Waitangi in 1840. The main theme based on the expression Tribal Ritual and Pacific Island drum rhythms (Tongan) are the major features in the structure of the composition.

• Daverne: Tribal Ritual; computer-set 

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• Gary Daverne: Gallipoli 

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2222; 342 (bass tr)0; timpani; percussion (xylo, triangle, glock); strings

Commissioned by the Canterbury Philharmonia this work in one movement is scored for full orchestra.

• Grenfell: Triptych; facsimile 

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• Grenfell: Triptych; facsimile 

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• 1999 Auckland Philharmonia Composers' Workshop 

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2*222; 2000; 1perc; Str(65431)

The Auckland Chamber Orchestra requested a piece from me that adopted the theme of the sea. My title was partly motivated by the famous Handel precedent, but focuses on creatures that live in the sea. The first movement is titled ‘Seahorses’ and captures the gently undulating movements of these small creatures. More dramatic gestures suggest the ebb and flow of the sea. The second movement is titled ‘Sting rays’ and the music suggests the slowly flapping motion of the rays. In the third movement, ‘Dolphins’, the orchestra presents an energetic theme, and the movement is full of strong, upward sweeping gestures. A piccolo solo in the middle section derives from the opening, and portrays a baby dolphin. The work ends with a blow from the dolphin’s spout. This 12 minute-commissioned work was first performed in 1994, and recorded for Concert FM under the baton of John Matheson.

• Ritchie A.: Underwater Music; facsimile 

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• Anthony Ritchie: Underwater Music 

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