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• Buchanan: Echoes and Reflections; facsimile 

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Etudes Book I is the first volume of a two-volume set of piano etudes dealing with compositional rather than with pianistic concerns. Most importantly, it finally gives full expression to my interest in musics outside the arena of so-called western “art” music.

Nam Phat Khay is a literal transcription of a solo played by Nouthong Phimvilayphone on the Kaen, a Laotian reed instrument. The player should note that the contrast is in the subtlety of the changing rhythm in the left hand melody. The title means “In the Current of the MeKong” and the original can be heard on a CD by Harminia Mundi entitled, LAOS – Lam Saravane – Musique pour le khene.

Sandouri is the name of a Greek instrument used in another literal transcription I have made. The recording is from a CD entitled Memories of the Peoples (on Auvidis-Unesco) of Konsolas Ermollos, a Sandouri player from Greece. The Sandouri is a distant relative of the modern Pianoforte. This movement can be played directly onto the strings inside the piano with xylophone mallets or something of that nature. However, it is has also been performed to great effect on the keyboard whilst placing aluminium or tin foil under the dampers.

Most Done Travelling In this movement I transcribed the melody of a Gospel song as sung by the Tuskegee Institute Singers recorded in 1917. The track was from a record entitled, An Introduction to Gospel Song on Folkways Records. I then harmonized the melody in my own way, and in the middle of the transcribed tune I placed a series of four-bar pan tonal variations. The variation where the inside of the piano should be strummed like an autoharp is most effective when a metal thimble is placed on the finger of the hand that is strumming. The variation with harmonics on the strings requires the indicated strings to be touched at one half length, producing a sound one octave higher than written.

Komer Chakra is more of an arrangement than the first two. The melody is from a group of Quechuan panpipe and drum players recorded in the Community Kaalaya, Bautista Saavedra Province of Bolivia. Like the second movement, it too is from a CD entitled Memories of the Peoples. The melody itself was very hard to transcribe (despite its apparent simplicity) because of all the overtones resulting from such a large group playing together. I then harmonized the melody in my own way. The left hand plays the rhythm of the drum as heard in the original recording.

Krivo Horo Like the previous movement, this is more of an arrangement than a literal transcription. The recording is from a Nonesuch CD entitled, Dances of the World, and it is a Bulgarian village band playing a “crooked dance” (hence the title). In the original, there are two wind instruments: a kaval (7-hole reed pipe), and a gaida (bagpipe) which sometimes play in unison, but for the most part, play a subtle and intricate counterpoint. For this reason, I have often ‘simplified’ the melody so it may be played by the right hand on the piano and the left hand may play the accompaniment.

• Davidson: Etudes for Piano Book 1; computer-set 

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• Davidson: Etudes for Piano Book 1; computer-set 

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• Syncopated Lady - American Piano Music  Year: 1998 

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The Flute Concerto was composed for flutist Alexa Still (Principal flute, NZSO) in 1993 while Ritchie was Composer-in-Residence with the Dunedin Sinfonia (now Southern Sinfonia). Unlike the Symphony “Boum” , written in the same year, this concerto is a generally happy and open-sounding work, and reflects aspects of Alexa Still’s personality as well as her playing. She first performed the concerto on September 4th, 1993 in The Glenroy Auditorium, and subsequently recorded it with The New Zealand Symphony Orchestra.

• Ritchie A.: Flute Concerto; computer-set 

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• Ritchie A.: Flute Concerto (2nd Mvt); computer-set 

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• Little Dancings - a selection of flute music by New Zealand composers  Year: 1998 

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• Anthony Ritchie: Flute Concerto - hardcopy score & parts  Year: 1999 

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The Flute Concerto was composed for flautist Alexa Still in 1993 while Ritchie was Composer-in-Residence with the Southern Sinfonia. Unlike the Symphony “Boum”, written in the same year, this Concerto is a generally happy and open-sounding work, and reflects aspects of Alexa Still’s personality as well as her playing. She first performed the concerto on September 4th, 1993 in The Glenroy Auditorium, and subsequently recorded it with The New Zealand Symphony Orchestra.

The first movement is energetic in style, with a bubbling first theme. This is contrasted by a darker and slower second theme, exploring the lower register of the flute. The music accelerates back to the main theme before heading into a percussive middle section. The flute then presents a lyrical idea that is related to earlier themes, and this leads to a cadenza. A brief recapitulation drives the music to a forceful ending.

The slow second movement is lyrical and improvisational in style, and begins with a solo for bass clarinet. A warm and gentle theme appears, followed by a short cadenza for flute. The orchestra returns with a fuller version of the theme, but it soon fades into anxious repeated chords on the oboes and bassoon while the flute plays nervous, flickering gestures. As the tension dissolves the clarinet introduces a laconic theme, interspersed with little cadenzas on the flute. The music builds to a climax where the main theme returns in a contrapuntal version, again fading into the anxious chords. A brief and mysterious coda contains references back to the opening cadenza, and the movement ends unresolved.

The third movement is like a sequence of dances with different characters, bound together by a buffeting crotchet rhythm. After a flourish from the orchestra, the flute introduces a sprightly theme, followed by a quirky, subsidiary idea. The buffeting rhythm from the start is transformed into a pop-styled ostinato pattern, and the flute plays a lyrical melody above it. This theme was inspired by the composer attending a performance by The Muttonbirds, a well-known NZ rock group. The quirky theme returns in a more subdued setting, the music slows, and unexpectedly becomes a dreamy and child-like waltz. This distraction is swept away by a loud chord, and the main theme returns with renewed purpose, leading to an exciting conclusion in which all the elements of the movement are combined.

The Flute Concerto was recorded by Alexa Still and the NZSO in 1996, on the Koch CD 3-7345-2-H1, entitled ‘Kiwi Flute’. The second movement of the concerto was published in a special version for piano and flute by the Centre for NZ Music, in their 1998 publication Little Dancings: A Selection of flute music by New Zealand Composers.

• Ritchie: Flute Concerto (hire set); computer set 

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• Ritchie A.: Flute Concerto; facsimile 

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• Ritchie, A.: Flute Concerto; computer-set  Year: 2009 

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• Orchestra Reading Panel 1 

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• Kiwi Flute  Year: 1995 

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• Remember Parihaka - orchestral music by Anthony Ritchie  Year: 2009 

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• de Castro-Robinson: Four Marimbulations; facsimile 

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• de Castro-Robinson: Four Marimbulations; facsimile 

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• Whitehead: Moments; facsimile 

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• Whitehead: Moments; facsimile 

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• Bisley: Prelude, Intermezzo and Dirge; computer set 

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• Bisley: Prelude, Intermezzo and Dirge; computer set 

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About seventeen minutes after this piece begins it will end. Although these seventeen minutes are essential for the deployment of the piece, more important to this composer is the impression that remains in the mind of the listener after the final sound has died away. I hope that some sense of shape or form is conveyed and that, rather than just a few salient features, the listener will apprehend a complete “object” which can later be reviewed and explored within his or her mind. It is this relationship between the temporal exposition of the piece and the spatial residue that the title, time’s distance, refers to.

time’s distance was commissioned by and is dedicated to CadeNZa.

• Hall: time's distance; facsimile 

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Written in Hiroshima while I was a Master’s student at Elisabeth University of Music, and first performed at my graduation concert from that institution. The piece opens with the ascending four-note motif from Debussy’s The Snow is Dancing from the Children’s Corner suite; gradually the motif is repeated in various ranges of both instruments, followed by soft passages from firstly piano, then violin. The piece concludes with the transposed motif heard over a chordal ostinato. The piece was influenced in some way by the music of Morton Feldman, whom I was studying at the time. Published by Wai-te-ata Press Music Editions, Wellington, and released on CD in a performance by Mark Menzies and Dan Poynton, on Wai-te-ata WTA001.

• Carey: Tombeau; facsimile 

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• Carey: Tombeau; facsimile  Year: 1994 

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• Waiteata Collection of New Zealand Music Vol. 1 - A Violin and Piano Recital  Year: 1999 

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