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I did intend to sit down and compose an orchestral epic. I really, really DID, honest. Could I help it that as soon as I made that decision, the saxes started up a 1920s tea dance in my computer?! Only it’s not all sweetness and light and good ol’ days, in fact it sometimes gets a little murky in there, to say the least…

• Audain: A Charleston Kick With Steel Caps; computer-set 

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• Audain: A Charleston Kick With Steel Caps; computer-set 

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• Two works by Yvette Audain 

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I did intend to sit down and compose an orchestral epic. I really, really DID, honest. Could I help it that as soon as I made that decision, the saxes started up a 1920s tea dance in my computer?! Only it’s not all sweetness and light and good ol’ days, in fact it sometimes gets a little murky in there, to say the least…

• Audain: A Charleston Kick With Steel Caps – alto sax quartet version; computer set 

  Score and parts | Pdf - computer set
  
  $22.00
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• Audain: A Charleston Kick With Steel Caps – alto sax quartet version; computer set 

  Score and parts | Hardcopy - computer set
  
  $26.50
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• Yvette Audain: A Charleston Kick With Steel Caps – alto sax quartet version; video 

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This piece was originally conceived for a mixed chamber group of 9 players, and received its first performance in 2002. It was arranged in this version for 2 pianos and 4 performers, for the Estrella Quartet, in 2011. The title refers to a scene from Shakespeare’s A Midsummer Nights Dream.

• Holmes: A Tedious Brief Scene: Bottom's Dance; computer-set 

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• Holmes: A Tedious Brief Scene: Bottom's Dance; computer-set 

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• Karlo Margetic: arr. Agnus Dei III (soprano and string trio) - hardcopy score 

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• Karlo Margetic: arr. Agnus Dei III (soprano and string trio) - downloadable PDF 

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• Karlo Margetic: arr. Agnus Dei III (string quartet) - hardcopy score 

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• Karlo Margetic: arr. Agnus Dei III (string quartet) - downloadable PDF 

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This work for clarinet quintet in three movements was written following time spent in the north of Scotland, during which I visited the remote and desolate places that my family left behind when they emigrated from Scotland to New Zealand in the 19th Century. Although the music is not intended to be strictly descriptive, the image underpinning the work is that of an infinite shore that stretches from the line of steep cliffs at Badbea overlooking the North Sea, around the world to the rocky southern shores of Aotearoa New Zealand. The work draws on the tonal colour and extremes of pitch that are possible in the clarinet, and the extraordinary platform of sound of the string quartet.

• Webster: An Infinite Shore; computer set 

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• Webster: An Infinite Shore; computer set 

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• 5 Works by M Louise Webster 

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Angels Flow was composed for harpist Helen Webby, for her CD of New Zealand harp music, entitled ‘Pluck’. This piece imagines a parallel between the sound of harp music and the movement of spirits, or angels. In some cultures, such as Maori culture, sounds produced by instruments have spiritual properties. Music can tap into a part of the mind that transcends reality, and puts us in touch with imaginary, spiritual worlds. In this piece the flowing movements of the angels are unpredictable and capricious. A gradual modal change through the piece finds rest at the end, as the music descends to the lower register of the harp.

Angels Flow was premiered in the 2012 Otago Festival of the Arts, and is one of ten works commissioned and recorded by Helen Webby for her CD ‘Pluck’, released by Ode Records (Manu 5144). Helen Webby wishes to acknowledge the generous support of Creative New Zealand, University of Otago and John Egenes, producer. ‘Pluck’ is the first anthology of New Zealand harp music.

• Anthony Ritchie: Angels Flow - hardcopy score 

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• Anthony Ritchie: Angels Flow - downloadable PDF 

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• Helen Webby: Pluck  Year: 2012 

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• Lardelli: Arrangements; computer set 

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• Lardelli: Arrangements; computer set 

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• Dylan Lardelli: Arrangements; audio 

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• Dylan Lardelli: Arrangements; video 

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you miss swimming in electric lights
between your fingers, the sound of running water
things you had forgotten, left behind:
the chair legs you forgot to felt
the ink-black shirt for every occasion.
the perfect sentence continues to elude you

between is both a musical exploration of acoustic spaces, and also a conversation between past and present, an interaction between my own compositional practice and that of a musical ancestor, the great New Zealand composer Anthony Watson (1933-1973). The shared musical material, from Watson’s Prelude and Allegro (1960) provides the platform on which this conversation takes place, encompassing musical worlds both lyrical and angular, grand and intimate. The poem above is my own.

• Taylor: between; computer-set 

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• Taylor: between; computer-set 

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• Alex Taylor: between; audio 

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Blimp [noun] a small, non-rigid airship or dirigible, especially one used chiefly for observation.

• Youens: Blimp; computer-set 

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• Youens: Blimp; computer-set 

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• Ryan Youens: Blimp; video 

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