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• Kenneth Young - orchestral music  Year: 1998 

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• Perkins: Symphony 'Der Bote'; facsimile 

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• Perkins: Symphony 'Der Bote'; facsimile 

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• Evans: Symphony - Organ; facsimile 

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• NZ Music Readng Panel 1998 

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• Evans: Symphony - Organ 

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Written in 2010 this is my first large-scale orchestral work.
Each of the four movements is based on the idea of one of the four classical elements – Fire, Water, Air, Earth. It also contains an idea of the creation of the world.
It employs a large orchestra and is fairly traditional in form and structure. Each of the movements has thematic links which unify the piece.

• Vinten: Symphony - The Elements; computer set 

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A full length symphony for large orchestra in three movements. It takes its title from the sequence of three sonnets The Islands by the New Zealand poet Charles Brasch. The music mirrors the unsettled air of the poetry and contrasts violence with delicacy and beauty as a metaphor for our times.

• Blake: Symphony - The Islands; computer-set 

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• Christopher Blake: The Islands  Year: 2002 

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The initial musical thoughts for Symphony III came from two related sources of inspiration – the paintings of Marc Chagall and Klezmer music. I had been playing accordion in a klezmer band in Wellington for a year or so before starting the work. I was intrigued by the genre and began writing klezmer influenced tunes for the band to play.

The simple klezmer tunes are woven into the piece in different ways. Some of them are treated as symphonic themes that are developed and transformed while others are quoted as melodies from popular music. There are passing references to dances, marches, and the use of solo violin and the novel appearance of accordion make reference to folk-like musical ideas inspired by klezmer.

Symphony No. 3 is in one movement divided into five sections generally alternating between slow and fast music. Sometimes the music is very transparent and simple at other times dense web-like textures emerge.

Symphony III can be heard as a unfolding journey, following paths whose destination is uncertain or unknown. It might almost be thought of as a saga, a story which is sometimes mysterious, sometimes funny, sometimes tragic but, I hope, always stimulating to the listener’s imagination.

Ross Harris

• Harris: Symphony III; computer-set 

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• Harris: Symphony III; computer-set 

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• NZ Premieres July 2008 to June 2009 Vol. 2 

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• Ross Harris: Symphonies Nos. 2 and 3  Year: 2012 

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• Hill: Symphony No.1; computer-set 

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• Alfred Hill - Wellington Chamber Orchestra vol. 1 

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• Lilburn: Symphony No. 1; facsimile 

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• Lilburn: Symphony No. 1 

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• Douglas Lilburn: The Three Symphonies  Year: 1968 

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• Lilburn: Symphony No. 1 and other works  Year: 1986 

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• Lilburn: Three Symphonies  Year: 1993 

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• Lilburn: The Three Symphonies  Year: 2001 

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The title of this symphony comes from the ominous tam tam stroke that opens the first movement, a mysterious sound heard by two of E M Forster’s characters in A Passage to India when they investigate the Marabar Caves. This is a sound which symbolises the mysteries of life and death, although Ritchie warns us not to take it all too literally. “The echo is only a starting point to a general theme of human struggle. The listener can interpret the music in his or her own way.”

The first movement opens sonorously in the tonality of G, pulsating chords leading us inevitably to the first main theme, a theme that Ritchie himself characterises as a “muscular, Brucknerian theme”, although the momentum that it engages owes more to Shostakovich. A sinuous saxophone theme is very significant in the central section, as is the lengthy oboe theme in the moderato section. The second movement opens with the sharp, bright sounds of oboes and clarinets accompanied by Cook Islands log drums. The log drum punctuates the movement’s textures and creates a sense of propulsion. A light-hearted dance introduced by string quartet offers an opportunity for a change of mood. The third movement is a lament for the victims of the Bosnian wars.

The highly evocative scoring of the opening pages was inpsired by the wailing of a Maori karanga, while tolling bells imbue this elegy with a special sense of tragedy. The symphony ends with a ‘grand dance’ which shows Ritchie has not been untouched by rock music. Several themes are brought together in an ecstatic coda, after which the music slowly unwinds over a reiterated pedal note. The opening of the first movement returns, and the final sound we hear is a single stroke on the tam tam.

Symphony No.1 ‘Boum’ was completed while Ritchie was Composer-in-residence with the Dunedin Sinfonia in 1993, and first performed the following year, under the baton of Sir William Southgate. It has received numerous performances, and was recorded for radio by the NZSO, in 1998, Auckland Philharmonia in 1996, Dunedin Sinfonia in 1994.

• Ritchie A: Symphony No. 1 - 'Boum'; facsimile 

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• Ritchie A.: Symphony - Boum; facsimile 

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• Anthony Ritchie: Symphony "Boum" 

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• Anthony Ritchie: Symphonies 1 and 2  Year: 2007 

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Described as “often beautiful and sometimes frightening” (NZ Listener), Ross Harris’s Symphony No 2 is a setting of poems on the subject of New Zealand soldiers shot for desertion in World War One. Writer Vincent O’Sullivan’s deeply felt descriptions of violence, love and tragedy are reflected in a moving and dramatic score.

• Harris: Symphony No. 2; computer-set 

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• Ross Harris: Symphony No. 2 

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• Ross Harris: Symphony No. 2 

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• New Zealand Premieres Volume 2 

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• Ross Harris: Symphonies Nos. 2 and 3  Year: 2012 

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