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In April 1981 Denise Hulford ‘discovered’ Sam Hunt’s poem DREAMS and was immediately impressed with the very descriptive words which became an inspiration for this setting of the poem for Mezzo-Soprano and Flute. As a composer and singer Denise Hulford has been fascinated by the voice and its potential for manipulation whilst being able to blend with other timbres.

• Hulford: Dreams; facsimile 

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• Hulford: Dreams; facsimile 

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This work for narrator, tenor and symphony orchestra highlights the impact on nature of man’s questionable progress. This idea is taken directly from Hone Tuwhare’s poem The Sea! To The Mountains! To The River which is the text for the soloist. Evolution is one continuous movement interspersed with nine vocal sections.

• Hulford: Evolution; facsimile 

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• Hulford: Evolution; facsimile 

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• Powell: Father's Telescope; electroacoustic part 

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• Powell: Father's Telescope; computer-set 

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• Kit Powell: Father's Telescope; audio 

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• Harlow - Powell: Radio NZ Archive Recordings 

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This work for solo flute and tape uses various modern playing techniques. Form inspired by a picture by Kokoschka.

• Powell: Floetenspieler und Fledermaeuse; facsimile 

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• Powell: Flötenspieler und Fledermäuse; facsimile 

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• Powell: Flötenspieler und Fledermäuse; electroacoustic part 

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• Powell: Prepared Tape  Year: 1994 

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This orchestral work is based on the novel The Scarecrow by the great New Zealand comic novelist Ronald Hugh Morrieson. The world of small town New Zealand and its black and dangerous undercurrents are depicted in atmospheric and unpredictable music.

• Blake: Night Walking with the Great Salter; facsimile 

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• Blake: Night Walking with the Great Salter 

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• Music by Christopher Blake 

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“Out of this Nettle, Danger is intimate, acute, fleet, with a fascinating sensitivity to the deep implications of the text. There is a big range of percussion instruments, used with the greatest economy and power of suggestion so that no sound or thematic fragment is perfunctory, each has a voluptuous, expressive, original shape. The piece moves forward in small episodes, held together partly by text, partly by the sheer consistent quality of the imagination.” (Oakes, The Independent)

• Whitehead: Out of this nettle, danger; facsimile 

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• Whitehead: Out of this nettle, danger; facsimile 

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• Gillian Whitehead: Out of this Nettle, Danger; audio 

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‘Pao’ is the name given by Maori to two-lined epigrammatic songs which comment on a wide range of subjects such as love, war, politics or religion; often topical, often improvised. Most of the songs set here were collected in 1864 from Maori prisoners captured during the the land wars in the Waikato area south of Auckland. The couplets are not connected in any way except for the central group, for unaccompanied voice, concerning Pikeri, a character famous at the time for his escapades evading the police; in this instance, enforced separation during a love affair is charted.

The English translations of these pao are used with the kind permission of the late Margaret Orbell, and come from her Maori Poetry, an introductory anthology (Heinemann, 1978).

Pao was commissioned by the Northumberland-based Syrinx Trio, with financial assistance from Northern Arts; the first performance was given by Syrinx in Newcastle in 1981.

• Whitehead: Pao; computer set 

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• Whitehead: Pao; computer-set 

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• Whitehead: Pao; facsimile 

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• Whitehead: Pikeri; computer-set 

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• Whitehead: Pikeri; computer-set 

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• Kowhai - an album of songs by NZ women composers  Year: 1994 

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• Gillian Whitehead: Pikeri from Pao; audio 

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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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• Carr: Poems for piano and orchestra; facsimile 

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• Carr: Poems for piano and orchestra; facsimile 

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• Works for orchestra: Body, Farr, Sanders, Carr 

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• Edwin Carr: Poems, Sinfonietta and Promenade 

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• Ritchie A.: Songs Just For You; facsimile 

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• The Big Sing Finale 2001   Year: 2001 

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