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A simple but expressive theme is subject to several variations, with main parts being shared around all 6 cellos. The tempo gradually increases towards the climax before subsiding to a quiet ending.

• Ritchie, A.: Theme and Variations; computer-set 

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• Ritchie, A.: Theme and Variations; computer-set 

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Prelude and three short sections depicting the Auckland landscape.

• Hamilton: Three Auckland Postcards; facsimile 

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• Hamilton: Three Auckland Postcards; computer-set 

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• Hamilton: Three Auckland Postcards; computer-set 

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• Hamilton: Three Auckland Postcards; computer-set 

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• Farquhar: Three Children's Songs; facsimile 

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• Farquhar: Three Children's Songs; facsimile 

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• Powell: Three Easy Pieces for Orchestra; facsimile 

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• Powell: Three Easy Pieces for Orchestra; facsimile 

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• Powell: Three Easy Pieces for Orchestra; facsimile 

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• Powell: Three Easy Pieces for Orchestra; facsimile 

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These songs were written while at the University of Otago Wallace residence at Pah Homestead. The texts are all from around the 16th Century. The first, The Three Ravens, is of English origin, appearing as the text for a song in Thomas Ravenscroft’s Melismata. The second, The Elphin Knight, is Scottish and is an older version of Scarborough Fair. The final song, Je ne l’ose dire, is the text from a madrigal by Pierre Certon, and is a gossip song about a man who is being cuckolded by his wife.

“With melody-line and form generally akin to Renaissance song, the contemporary harmonies and pianoforte style of accompaniment gave these delightful songs 21st century gilding.”
- Elizabeth Bouman, Otago Daily Times

• Adams, C.: Three Songs on Old Texts; computer-set 

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• Adams, C.: Three Songs on Old Texts; computer-set 

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5 short pieces with a NZ flavour. The speaker plays the role of a rather serious teacher who does not see the funny side of what he is saying. In the rather wild movement “Mussels” he changes role to shout the Maori text like a “Karakia”.

• Powell: Tide Pools; computer-set 

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• Powell: Tide Pools 

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• Kit Powell: Tide Pools 

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Transylvanian Dances was commissioned by The Jade String Quartet (Miranda Adams, William Hanfling, Robert Ashworth, Claudia Price) for their Arts on Tour series of concerts, October 5-28, 2007. The piece was funded as part of the composer’s work at the University of Otago.


Transylvanian Dances is based on two folk tunes that appear on the album The Lost Jewish Music of Transylvania (HNCD 1373), by the Hungarian group Muzsikas. These folk tunes were well known to Jewish communities in Transylavania before the Second World War but were lost following the holocaust. In the 1990s, Muzsikas combined forces with two old Gypsy players who could still remember the tunes. Together they reconstructed the items in full, bringing to life music that had been silent for 50 years.


In Transylvanian Dances the tunes are transcribed and arranged for string quartet, and also developed into original passages of music, in an improvisational manner. Most motifs are derived from the folk music, but some additions are made, particularly in the harmonies. Some of the timbres in the quartet are designed to mimic the sound of the cimbalom, a Hungarian percussion instrument. The low-pitched, chugging chords on viola and cello also conjure up a familiar sound from Transylvanian folk bands.


Acknowledgement
The composer gratefully acknowledges permission from Muzsikas to use these two folk tunes in Transylvanian Dances.

• Ritchie, A: Transylvanian Dances; computer-set 

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• Ritchie, A: Transylvanian Dances; computer-set 

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• Jade String Quartet - string quartet on tour 

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This is a lively and colourful piece for youth orchestra, based on a quasi-Hungarian folk tune. After a slow introduction, a rhythmic melody springs to life, leading to a rumbustious second theme. This work is scored for a full orchestra, and is designed for good high school players and tertiary students.

• Ritchie, A: Variations; facsimile 

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• Ritchie A.: Variations for orchestra; facsimile 

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‘Voices of Tane’ (1976) was the first piece I wrote on my first return to New Zealand after nine years away. It was written for my sister, Joyce Whitehead, to play at the Registered Music Teachers’ Conference in Auckland that year. A series of seven short piano pieces, written with children in mind (although some of them are difficult for children to play), was written for my godson, Kit Boyes. There is little to say about the pieces themselves except that the last repeats the first, the third has to do with birdsong, the fifth with the wind, and the sixth consists of nine ideas that the pianist plays in whatever sequence she or he wishes.

• Whitehead: Voices of Tane; computer-set 

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• Gillian Whitehead: Voices of Tane; audio 

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A one movement work composed for the Silencio Ensemble for the Canterbury Composers Series.


This piece in three main sections features the piano, saxophone and flute respectively, each section is derived from similar material but differs in its texture. The two outer sections are cloudy, sustained and expressive. The middle section is more jazz like with the ensemble playing together behind an improvised saxophone solo. The piano divides the sections with strong forceful material to insert depth and weight into a piece which has a very refined, reserved and obscure quality much like being on a canvas.

• van den Broek: White and Pink on Light Red; computer-set 

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• van den Broek: White and Pink on Light Red; computer-set 

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• Alex van den Broek: White and Pink on Light Red 

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• Silencio - New Music Ensemble - Canterbury Composers 2008 

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