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On request from Matthew and Anna Leese, Ritchie arranged his A Poem Just for Me as duet for soprano and baritone. The words by English poet Roger McGough describe an identity crisis brought on by the process of growing up, and the setting is simple and touching.

• New Zealand Poets in Song - Anna and Matthew Leese sing songs by Anthony Ritchie  Year: 2008 

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• Powell: Father's Telescope; electroacoustic part 

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• Powell: Father's Telescope; computer-set 

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• Kit Powell: Father's Telescope; audio 

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• Harlow - Powell: Radio NZ Archive Recordings 

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for 3 sopranos, 3 altos, male speaker, alto fl, piccolo ,E-flat clarinet ,B-flat clarinet , bass-clarinet, horn, percussion (xylophone, timpani, 5 temple blocks, tambourine, 15 maracas, windchime, clicker,marimba, cymbals, balloons, pingpong balls) hp,pf. Extras: 13 balloons (with pins); brick (for piano pedal); 100 plus table tennis balls

This work for mixed ensemble and female voices drew its inspiration from a series of paintings by Ken Robinson which were hung up behind the performers. “Drawing on Spanish texts from Pablo Neruda and St John of the Cross, Eve de Castro-Robinson has produced some wonderfully exotic music. Timbres are perfectly judged, from the vibrant exoticism of alto flute in Edged to the mysterious ceremony of horn and timpani in Black Drop and solo lines have a tremendous sense of tautness and cohesion.” William Dart, Music in NZ

• de Castro-Robinson: Five Responses; facsimile 

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• de Castro-Robinson: Five Responses; facsimile 

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• Eve de Castro Robinson: Works 3 

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• Starrett: He left me..; facsimile 

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• Starrett: He left me..; facsimile 

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Perc: triangle, gong, wind chimes (metal), bass drum, tamtam, cymbal, vibraphone

• Utting: It is Spring; facsimile 

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• Utting: It is Spring; facsimile 

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• Starrett: Love is strong; facsimile 

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• Starrett: Love is strong; facsimile 

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The Love Sonnets of Michelangelo I wrote for Michael Parmenter, with whom I worked on a programme entitled Between Two Fires (also included was a dance-theatre work I created collaboratively with Michael, using his voice as well as his body, with imagery extracted from the diaries of Franz Kafka.) At the time I was focused on different styles of melody, having just completed my Five Melodies for Piano. Inspired by the lovely voices of some of the then current students in our School of Music, I felt that women’s voices gave the expressive quality I wanted, as well as providing a useful ‘cover’ for the overtly homo-erotic tenor of the texts. The original production used film, shot by my good friend Bayley Watson, showed the dancer’s prostrate figure, swathed in bandages. As the performance unfolded the cloth was gradually cut and pealed back by hands belonging to an old man whose face we never saw, the intended metaphor being of the sculptor cutting away marble to reveal the male form that he sensed already existed within the stone.

The work has since had other performances that have discarded the theatrical elements, most successfully when each setting is prefaced by a reading of the poem in translation.

These settings of some of Michelangelo Buonarroti’s most personal sonnets articulate the anguish of love and desire, as well as the despair of old age. The musical style combines the theatricality of Italian bel canto with the direct expressivity of folksong.

• Body: Love Sonnets of Michelangelo; facsimile 

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• Jack Body and Michael Parmenter: Love Sonnets 

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• Baroque Voices: How Great is the Pleasure   Year: 2001 

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• Waiteata Collection of New Zealand Music Vol. 6 - Composer Portrait: Jack Body  Year: 2003 

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sop, m-sop,A,T,Bari,B choir or sextet. Optional melody instrument - flute. If one soprano has a virtuoso high light voice that could undertake the flute line, the upper voices in 1 and 5 can be rearranged between soprano 2 and alto.

The Virgin and the Nightingale was commissioned by Jones and Co with funding from the Music Board of the Australia Council, and first performed by The Song Company in 1992. The poems are taken from Fleur Adcock’s collection of translations of mediaeval poems published by Bloodaxe Books as The Virgin and the nightingale, with kind permission of author and publisher. The five songs all focus on birds; the flute part in Love’s Agent is a (transposed) transcription of a nightingale song. The settings are for SSATTB choir. The songs can be performed as a set or separately; some of them are suitable for choir.

• Whitehead: The Virgin and the nightingale; computer-set 

  Full score | Pdf - computer set
  

• Whitehead: The Virgin and the Nightingale; facsimile 

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• The Laughter of Mermaids – The Song Company 

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SSAATTBB; Percussion 1: 5 temple blocks, 4 drums, bass drum, rasp, marimba, celeste; Percussion 2: 5 temple blocks, 4 drums, bass drum, rasp, 5 suspended cymbals, large tamtam, 5 antique cymbals, tubular bells; Percussion 3: 5 temple blocks, 8 drums, large bass drum, 5 suspended cymbals, one timpanum, glockenspiel, vibraphone; Percussion 4: bongos, 4 drums, small bass drum, 2 tamtams, 5 temple blocks, glockenspiel, rasp, vibraphone

Written for eight vocal soloists and a percussion ensemble of four players, Tongues Swords, Keys explores, in a multi-lingual text devised by Randolph Stow, ideas of coming together and parting – perhaps of tribes, or of nations, or of individuals. At times the work is ritualistic in character. It was written with funding assistance from the Australia Council.

• Whitehead: Tongues Swords Keys; facsimile 

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• Whitehead: Tongues Swords Keys; facsimile 

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For five part female vocal ensemble in close harmony/jazz style

• Becker: When Will We Know; facsimile 

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  $16.00
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• Pepe Becker: When Will We Know; audio 

  Media on Demand | Embedded
  

• Baroque Voices: How Great is the Pleasure   Year: 2001 

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• From the far point of the rising of the sun... (Part II)  Year: 2005 

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