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This composition is a setting of a poem by the Australian philosopher, poet and musician Melvyn Cann. The first part describes a spiritual journey through suffering to transcendence and peace. The second part describes a state of consciousness where both thought and time cease, and only feeling remains.

• Cowdell: A Place of Quiet; facsimile 

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• Vidulich: Aotea Suite; facsimile 

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• Vidulich: Aotea Suite; facsimile 

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• Vidulich: Aotea Suite; facsimile 

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‘Beginnings’ was commissioned by Auckland Philharmonia. It was inspired by the birth of Ritchie’s son Tristan. It depicts the slowly mounting tension of the labour, through to the birth itself. There is a gradual growth in the music from small, delicate gestures into wild and pulsating ones towards the end. The child is represented by a ‘little Tristan waltz’ which eventually gets caught up in the musical frenzy. The waltz sequence imposes order on the music, which tends to be fragmentary and changeable. There are some echoes of Bartok and Debussy in this early work, and it presents a good challenge for a professional orchestra.

• Ritchie A.: Beginnings ; Facsimile 

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• Anthony Ritchie: Beginnings; audio 

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• Auckland Philharmonia Orchestra: New Zealand Music 1  Year: 1990 

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This work for full orchestra and tape is a protest and documentary work concerning the 1981 Springbok rugby tour of New Zealand.

• Cree Brown: Black and White; cassette 

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• Cree Brown: Black and White; facsimile 

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• Cree Brown: Black and White; facsimile 

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This work was written before and after a visit to Colyton, where a cousin of the composer has a farm, and whose daughter was playing ’cello in the orchestra at the time. He intended the work to reflect the rural open spaces that provide welcome relief for a city-dweller.

• Hinds: Colyton Overture; facsimile 

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Flute Concerto No. 1 was written during 1987 for The Nova String of Wellington and their flute soloist, Karen Batten. This group gave the first public performance of this concerto at The Laings Road Methodist Church, Lower Hutt, during July 1988.

• Biddington: Concerto for flute and string orchestra; facsimile 

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• Biddington: Concerto for flute & string orchestra; facsimile 

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• Eric Biddington - Flute Concerto No.1 

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• Biddington: Flutes Concertos and Chamber Music  Year: 2001 

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This musical analogy to the physical phenomenon of light breaking up is written in a pointillistic style, with sinuous melodic fragments leaping across the piano keyboard in jagged cross-rhythmic dancing. Angular counter- melodies are provided by a chamber orchestra of single winds and brass with 14 strings in this single movement.

The idea of diffractions is represented in sound by the piano, central and prominent, exploiting an aspect of its technique to which it is ideally suited: rapid changes of direction and wide intervallic leaps with extreme dynamics. The orchestra provides bands of coloured spectra forming an integrated texture. The melody, oscillating and colourful is sometimes pointillistic and at other times it flows into longer continuous phrases.

Diffractions is essentially an abstract work in one continuous movement.

• Keay: Diffractions; facsimile 

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• Keay: Diffractions; facsimile 

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• Music by Nigel Keay 

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• Nigel Keay - Various Works 

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• Blair: Etude; facsimile 

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• Blair: Etude; facsimile 

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In Spring 1987 I wrote the original version of this Fantasia for orchestra using as a starting point some of the rhythmic materials from part of my Cello Symphony. A solitary tui call (using pitches I’ve never since heard from this inventive bird) had provided some of the initial inspiration; here this is heard about nine minutes into the piece in parallel woodwind chords together with tubular bells with many anticipations and echoes throughout. The repeated E characteristic of the ritornelli could also be related to frequent tui calls, though used in a free and energetic manner far removed from the usual character of the bird. The ‘rhymes’ of the title refers to the constant similarities in the sonic echoes throughout the piece: constant change but with many recurring figures. The recent revisions have been mainly corrections and minor additions and alterations carried out in the process of typesetting.

John Elmsly

• Elmsly: Fantasia: Wild Rhymes of Spring; computer-set 

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• Elmsly: Wild Rhymes of Spring; computer-set 

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• Utting: Horn Concerto; facsimile 

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• Utting: Horn Concerto; facsimile 

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