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• Ritchie A.: Two Maori Songs; facsimile 

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• Ritchie, A.: Two Maori Songs; facsimile 

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• Ritchie, A.: Haere Mai Ra; facsimile 

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• Anthony Ritchie: Haere Mai Ra; audio 

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Hawk: Seeking dust from a distant sun.

• Hunt: Three Quirky Microscores for Clarinet Quartet; computer-set 

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• Hunt: Three Quirky Microscores & A Flock of Fleeting Microscores; computer set 

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• Natalie Hunt: Hawk; audio 

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• Microscore Madness! - the New Zealand Clarinet Quartet 

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• Philip Norman: Hunger Songs; audio 

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Stop! Kaka-time.

• Hunt: Three Quirky Microscores & A Flock of Fleeting Microscores; computer set 

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• Hunt: Three Quirky Microscores for Clarinet Quartet; computer-set 

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• Natalie Hunt: Kaka; audio 

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• Microscore Madness! - the New Zealand Clarinet Quartet 

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Of a shyness that is criminally vulgar.

• Hunt: Three Quirky Microscores & A Flock of Fleeting Microscores; computer set 

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• Hunt: Three Quirky Microscores for Clarinet Quartet; computer-set 

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• Natalie Hunt: Kawau; audio 

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• Microscore Madness! - the New Zealand Clarinet Quartet 

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This work is an exploration of the possibilities of the string orchestra as a body of sound, the orchestra at times acting like one giant super-instrument composed of intricately superimposed layers. Old textures are continually swallowed up, recycled and transformed, playing out a finely balanced tension between static and active, supple and brittle, strong and fragile. From a fluid, tangled haze, individual voices periodically emerge to assert some kind of nostalgic lyricism, but each time they are ultimately subsumed, swallowed up in an eerie, ambivalent mass of sound. Stylistically the music is varied and eclectic, weaving together the intricate, spidery lines of Ligeti, the delicate chordal sonorities of Messiaen, the caustic anger of Shostakovich and even the brooding menace of Anthony Watson.

• Taylor: silk / gravel; computer-set 

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• Taylor: silk / gravel; computer-set 

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• Taylor: silk / gravel; computer-set 

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• Alex Taylor: silk / gravel; audio 

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The Maori text for this Christmas season choral work is drawn from the Gospel of Luke (Ch.2. verses 10,14) and also Isaiah Ch. 9. verse 6). The work was revised for SATB choir in 1997.

Accurate Maori pronunciation is required for this work

• Fisher: Te Whakaaro Pai ki Nga Tangata; computer-set 

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• Helen Fisher: Te Whakaaro Pai Ki Nga Tangata; video 

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• Te Whakaaro pai Ki Nga Tangata - Helen Fisher 

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• Helen Fisher: Works 1  Year: 1992 

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This piece is the result of a commission from Bryan Holden and the Auckland Mandolinata Orchestra. They wanted a work that could be premiered at an Auckland venue in October 2007, and which could then go on to a performance at an Australasian forum for players of mandolins and related instruments in 2008.

I was advised of the fact that for the premiere performance, a flautist and more than one accordion player would be available. However, at time of writing there looks to be no flautist, and only one accordion player, available for the Australian performance. Hence my decision to make the flute and accordion parts ‘optional’, with the piece able to be adequately presented using only the core ‘plectrum orchestra’ instrumentation as well. Needless to say though, it is ideal that the flute and accordion parts ARE present, as they add to the piece rather considerably, even though I couldn’t completely indulge in the creation of specifically-idiomatic solos for them!

Movement 1: in a cellar below street level
This initial inspiration for this movement came from the diverse range of musical activity presented at Auckland city performance venue The Wine Cellar. In this particular movement, listen to a tale told in music, of a hypothetical Medieval minstrel who would actually rather be a blues musician.
Movement 2: look’d @ stars
When international visitors come to Auckland, they are often blown away by the fact that even in the middle of the city, one can still see the stars in the night sky.
“look’d” = ancient; “@” = modern; “stars” = timeless.
Movement 3: SPARK!
Inspired by a gig I participated in at the beginning of November, the month which Guy Fawkes’ Night (a celebration marked by bonfires and fireworks) occurs – and there were indeed fireworks at this central Auckland gig that night.

• Audain: Three Auckland Nocturnes; computer-set 

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• Audain: Three Auckland Nocturnes; computer-set 

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• Audain: Three Auckland Nocturnes; computer-set 

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• Audain: Three Auckland Nocturnes; computer-set 

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• Audain: Three Auckland Nocturnes; computer-set 

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• Yvette Audain: Three Auckland Nocturnes; video 

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This short and lively Maori welcoming song has been much performed, nationally and internationally, by children’s choirs. Arranged for sopranos, altos and piano (with optional parts for flute and cello) it is not difficult to learn and has bright and rhythmic parts for the instruments. The lyrics are by Canon Wi Huata to a traditional tune.

• Ritchie, A.: Two Maori Songs; facsimile 

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• Ritchie A.: Two Maori Songs; facsimile 

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• Ritchie A: Tutira Mai; facsimile 

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• Ritchie, A.: Tutira Mai; computer set 

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• Ritchie A.: Tutira Mai; computer-set  Year: 2000 

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• Ritchie A.: Tutira Mai; computer-set  Year: 2006 

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• Anthony Ritchie: Tutira Mai; audio 

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