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2222; 4230; timp, perc; strs.

This music was originally commissioned by Richard Campion for the New Zealand Players’ production of Ring Round the Moon by Jean Ahhouil, translated by Christopher Fry. In the second act there is a ball taking place offstage and demanding a large number of dances which are specified in the text.

The music was first recorded on acetate discs by a ad hoc orchestra led by Alex Lindsay; these small recordings were then played through speakers for the production, sounding very loud to the cast but filtering out more gently to the audience. At the end of the long national tour, the cast knew the music very well and suggested to me that I should do something with it.

The result, some years later, 1957, was a suite of nine dances first performed by the Alex Lindsay Orchestra. This rapidly became my most performed piece and was commercially recorded by the Alex Lindsay Orchestra in the 1960s, a recording still available today from Kiwi Pacific Reords.

Ashley Heenen, through the NZ APRA Committee, commissioned an arrangement for full orchestra for the NZ Youth Orchestra to take on a tour of Europe and China in 1975. This version was shortened to six dances by leaving out the first three numbers. The music has also been used for a ballet, The Wintergarden, choreographed by Arthur Turnbull for the Royal New Zealand Ballet Company – this version included a tenth dance not in the 1957 Suite. Since 1975 two further version have been commissioned: Waltz Suite (1989), for string orchestra (five dances) for the Nova Strings, and an arrangement of the original Dance Suite (1992) for violin and piano (nine dances) for Isador Saslav.

• Farquhar: Short Suite from Ring Round the Moon; computer-set 

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• Farquhar: A Short Suite from Ring Round the Moon; computer-set 

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• Farquhar: Short Suite from Ring Round the Moon; computer set 

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• SOUNZ Orchestral 1993 

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• New Zealand Composers  Year: 1995 

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2022; 4331; timp; 2 perc; strings

On May 25 2010, the New Zealand Parliament passed the Sentencing and Parole Reform Bill, also known as “Three Strikes” legislation, sponsored by David Garrett, the ACT Party, and the Sensible Sentencing Trust, and supported by the National Party, under Prime Minister John Key. The law imposes mandatory maximum sentences on offenders who commit three “Strike” offences, removing judicial discretion. An almost identical bill was passed in California in 1994. California’s crime rate remains 11% above the national average, its prison population has increased to nearly 200,000, and its recidivism rate is the highest in the United States.

• Taylor: Attention:; computer-set 

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• Taylor: Attention:; computer-set 

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• The APO Composers' Workshop 2010 

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(1)2121;2220;3perc, kybds,hp;strs (10-8-6-6-4) and tape.

• Jonathan Besser: Jean - The Ballet  Year: 1990 

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2222; 3432; 5 perc; organ, harp, strings. (74 players in all) "Choreography" included.

• Dadson: MAYA; facsimile 

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• Dadson: MAYA; facsimile 

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• Buchanan Dadson Fisher: works 

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• Philip Dadson: Maya 

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• Fanfares for a New Millennium  Year: 2000 

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• SOUNZfine Volume 3 

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• New Zealand Composers On Screen 

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• Memory and Desire - soundtrack from the movie  Year: 1997 

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This work was commissioned and premiered by The Royal New Zealand Ballet at the Westpac Trust St James Theatre, Wellington on February 27, 1999.

Through most of 1998, the commissioned creative team including composer Philip Norman, choreographer Russell Kerr and designer Kristian Fredrikson worked on the adaptation of James M Barrie’s enchanting story. “We ate, slept and dreamt crocodiles, pirates and mermaids.”

• Norman/Grenfell/MacKenzie; cassette 

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• Peter Pan 

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• Philip Norman: Peter Pan  Year: 1999 

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• Norman: Peter Pan  Year: 1999 

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2222; 2220; perc, hp; strs.

• Edwin Carr: Sinfonietta and Promenade 

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• Edwin Carr: Poems, Sinfonietta and Promenade 

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• Edwin Carr: Orchestral Works and Symphony No. 4  Year: 1995 

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New Zealand’s landscape has long been a source of inspiration for artists and composers. I was fortunate enough to have enjoyed frequent trips to the mountains when young, and I still remember them fondly to this day. I have written quite a number of works on the theme of New Zealand’s natural environment. So I was very pleased to be asked by the Dunedin Sinfonia (now Southern Sinfonia) and Natural History New Zealand to compose ‘Southern Journeys’.

After initial discussions in 1999, I was given freedom to come up with my own ‘synopsis’ for the piece. The music was to be written first, and then recorded by the Dunedin Sinfonia so that images could be put to the music. This was a considerable luxury for the composer, as normally the film is made first and later the music is written to fit the images. Natural History was insistent that I should compose my music without the restriction of specific images, and for that I am very grateful.

Although Southern Journeys is programmatic, I have attempted to incorporate a symphonic logic into the music. Themes are developed and transformed, and there is an element of cyclic form with the return of the opening theme at the very end of the work. Ideally, the music should be able to stand alone without film, and still make sense.

The first movement is subtitled ‘Ancient South’ and portrays southern landscape, particularly remote areas such as mountains and sounds. The land is constantly being changed by water, snow and wind, the most dramatic example being the effects of avalanches. In the second movement, ‘Southern Adventures’, humans interact with Nature, at sea, in caves, on rock faces, in the air. Although these adventures are often difficult and treacherous, we feel exhilerated by this risky communion with Nature. The third movement, ‘Seasons in the South’, begins with the stillness of lakes and forests in Autumn, and moves on to explore southern bird and sea life. Winter announces its arrival with a storm, followed by the thawing of snow and ice and the first signs of Spring. The last movement, ‘Our Place’, explores our own environment and contrasts it with the natural environment we have witnessed in the previous movements. A note of caution is sounded: we cannot take the natural beauty of the South for granted. We have to respect and care for it, so as to maintain the balance between our needs and the needs of Nature. At the end of the movement a harmony exists between the beautiful aspects of a city like Dunedin and the natural environment.

Southern Journeys received financial assistance from the Millennium Fund and Natural History New Zealand.

• Anthony Ritchie: Southern Journeys  Year: 2000 

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• Anthony Ritchie: Southern Journeys  Year: 2002 

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2(1)32(bass cl.)2 (contra bassoon); 432(1)0; timpani; 3 percussionists; harp; piano (or electronic equivalent); strings

An orchestral overture which has been described as “… a highly successful piece that could bear repetition not just in this context (Pops concerts) but in more traditional concerts.” Evening Post February 1993.

It has already had over 20 performances by four different orchestras and works well with a live juggler.

• Norman: The Juggler; facsimile 

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• Philip Norman: Orchestral Compositions 

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2 fl, 2 ob (2nd doubling c.a.), 2 cl, bsn, cbsn 4 hn, 3 tpt, 2 tbn, b.tbn, tba timp, 2 perc (Triangle, Mark Tree, Large Metal Oil Barrel, Clash Cymbals, Wooden Floor, Sleigh Bells, Suspended Cymbal, Snare Drum, Bass Drum) harp, strings

Walter Bolton was the last man executed for murder in New Zealand, hanged at Mt Eden Prison on 18 February 1957. He was convicted of poisoning his wife Beatrice with arsenic on their Whanganui farm.

The story of his trial, questionable guilt and subsequent execution continues to raise many questions. Is it right to take a person’s life in exchange for another? What if society’s judgement was wrong? Would our society have made the same judgement today?

But even more compelling than these moral questions is why a man like Walter Bolton would have been driven to murder in the first place. The prosecution contended that he had deliberately put sheep dip in her food; however arsenic was also found in the farm’s water supply – probably because it had leeched in from the normal daily use of that same sheep dip. The clincher for the jury’s guilty verdict was Walter’s admission that he had been having an affair with his sister-in-law, Florence – salacious but ultimately only circumstantial evidence. The decision to execute him was rushed: the trial took place shortly before Christmas 1956 and the judge and jury would have felt pressed to make it home to their families. Up until his death, Walter continued to maintain his innocence. Florence, a spinster, committed suicide soon after his execution and was rumoured to have left a note admitting to the killing.

This combination of our script and music is a fictionalised interpretation of these historical circumstances. We have put Walter Bolton in his Mt Eden Prison cell in the early dawn hours before his execution. His mind wanders to his deceased wife Beatrice, his lover Florence, and the grotesque pantomime of the judicial system as he saw it. In The Lover’s Knot, he awaits the hangman’s noose.

• Ellis: The Lover's Knot; computer-set 

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• Ellis: The Lover's Knot; computer-set 

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• Ellis: The Lover's Knot; computer-set 

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• Ellis: The Lover's Knot; computer-set 

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• The APO Composers' Workshop 2010 

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