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• Buchanan: An Ocean Between Us; computer set 

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• Buchanan: An Ocean Between Us; computer-set 

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• Buchanan: An Ocean Between Us; computer-set 

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Clarinet Quintet was commissioned by Christopher Marshall for his chamber music series “Christopher’s Classics” in 2006. It was written for Gretchen Dunsmore, clarinet, and The New Zealand String Quartet, for a premiere performance on September 13, 2006. The composition was also written as part of the composer’s work at The University of Otago. The point of departure in this work is Mozart, in the year of his 250th anniversary. Motivic ideas are derived from the opening melody of his Clarinet Quintet, using a magic square to transform the pitches. No direct reference is made to the Mozart theme until the third movement, which is more diatonic in character.



The first movement begins mysteriously, with a clarinet solo interspersed with rustlings from the strings. This solo contains the seeds for the entire movement, which is fast, lively and angular, following the slow introduction. A more moody and edgy middle section gradually builds up to a climax near the end of this movement. Contrasting with this is a slow middle movement that opens with a simple and bold statement on the strings. Over the top of this the clarinet plays a lamenting melody. The first four notes are a quotation from the composer’s opera The God Boy (Mrs Sullivan’s motif) signifying anxiety and guilt. A slightly calmer middle section is free in tonality, and builds up strongly in intensity, followed by an abridged return to the opening. The finale is a ‘moto perpetuo’ movement in which the diatonic opening idea is undermined by subtle tensions in the music. Although it is fast-paced and lively, it is also weary and uneasy in tone. A rousing final section leads to a quiet, fading coda, as the life in the music is gradually exhausted.

• Ritchie, A.: Clarinet Quintet; computer-set 

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• Ritchie, A.: Clarinet Quintet; computer-set 

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• Ritchie, A.: Clarinet Quintet; computer-set 

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• Two works by Anthony Ritchie 

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In this work, the first movement uses two Basque melodies (one of which is a Basque lullaby whose text contains only Basque nonsense words) for the first group and a “Bulgarianized” version of a Hungarian folk melody for the second in this short sonata form. The second movement is an arrangement of a 14th century melody by Guillaume de Machault, and the last owes something to Scandinavian folk music (the obscure title refers to a favorite Finnish dill-infused salad dressing that I like to make on occasion).

Music for Viola and Piano is dedicated to Rudolf Haken, Rachel Jensen, and my counterpoint teacher, Jack Melby.

• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; computer-set 

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• Davidson: Music for Viola and Piano; facsimile 

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• Talencourt  Year: 2008 

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In Memory of Verona – drowned at sea 2005

In June 2005 my niece Verona sailed from Nelson heading for a romantic holiday in Rarotonga. She traveled with her beloved partner on his yacht. They ran into a severe storm north of New Zealand and were never found.

While writing this piece I came across reference to a quote from Tristan and Isolde in The Waste Land – “Öd’ und leer das Meer” – “desolate and empty the sea”. In both the Wagner’s and T. S. Eliot’s works the reference is to drowning at sea. When I discovered that the words were sung, in the opera, by the Shepherd (who plays Cor Anglais) it seemed appropriate for Te Moanapouri to end with a brief quotation from Act III of Tristan and Isolde.

• Harris: Te Moanapouri; computer set 

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• Harris: Te Moanapouri; computer-set 

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• Harris: Te Moanapouri; computer-set 

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• Harris: Te Moanapouri 

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The three poems by Jean Toomer were selected for their beauty of language, wide palette of colours and imagery, and strength of feeling. I stumbled upon them while browsing a website of American poets. I had not intended to set work by an author who was so politically motivated, but the instant reaction in my heart on reading them made these a must. I must confess to not understanding the poems completely, but that air of mystery appeals all the same. I’ve attempted to set the poems in an honest and respectful way, but I have had to rely on my own interpretation and instinct in doing so. This set of songs is a quest for, or dream of, beauty, and the difficulties one meets on the way. Emotional poles are used to structure the music and highlight my interpretation of the texts.

• Anthony Young: Three Songs on Poems by Jean Toomer - hire set 

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• Anthony Young: Three Songs on Poems by Jean Toomer - downloadable PDF 

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• Anthony Young: Three Songs on Poems by Jean Toomer - hardcopy score 

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• Works by Anthony Young 

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In the spirit of recycling, Timepiece uses music of the past in new ways. The three-note motif that pervades the work is a transcription of a bellbird song (previously used in my piece Bush Telegraph). I also quote from Mahler, The Beatles, and a famous clock tune.

Timepiece is a clarinet quartet, composed for The Committee’s ‘Clock Works’ concert in Auckland University’s Clocktower. In a minimalistic style, it includes hocketing, spatial effects, birdsong, and musical quotation.

• Willis: Timepiece; computer-set 

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• Willis: Timepiece; computer-set 

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• Willis: Timepiece; computer-set 

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• Willis: Timepiece; computer-set 

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