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Originally called A Song of Tamatea, this work was revised in 2000 to become An Offering for Parihaka.

• Hamilton: A Song of Tamatea; facsimile 

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• Hamilton: An Offering for Parihaka; computer set 

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• Hamilton: An Offering for Parihaka; computer set 

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• David Hamilton: A Song of Tamatea 

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• Parihaka 

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• Ritchie, J.: Concertino for Clarinet and String Orchestra; facsimile 

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• Ritchie J.: Concertino for Clarinet and String Orchestra; facsimile  Year: 1963 

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• Ritchie J.: Concertino for Clarinet and String Orchestra; computer-set  Year: 2005 

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• National Youth Orchestra 1975 

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• Frank Gurr with the NZSO under John Ritchie 

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• The Alex Lindsay Orchestra: Ring Round the Moon 

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• Ring Round the Moon  Year: 1963 

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• Aquarius: Music by John Ritchie  Year: 1998 

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• Alex Lindsay String Orchestra  Year: 1998 

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This short work grew out of the middle movement. Originally composed for violin and strings, “Memorial” was first performed in a version for oboe and strings by the chamber orchestra of St Mary’s College, Auckland. It was suggested I might like to expand this into a larger work for oboe and strings, given there was a fine young oboe player in the school.

The completed concertino consists of a traditional three movement form: fast-slow-fast. The first movement has elements of Baroque period writing in it, including a short fugal section based on the opening melody. The second movement, “Memorial”, is a slow and poignant movement written at a time when New Zealand was experiencing a number of tragedies – the Pike River mining tragedy and the Christchurch earthquakes. The final movement, “Hoe-Down”, is a complete contrast, being a purely fun and rhythmic piece of writing suggesting the music of the old time western USA.

• Hamilton: Concertino for Oboe and Strings; computer set 

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• Hamilton: Concertino for Oboe and Strings; computer set 

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This early work was recorded by Schola Musica with soloist Sharon Joy Vogan and is scored for strings.

• Ritchie A: Concertino for Piano and Strings; facsimile 

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• Ritchie A.: Concertino; facsimile  Year: 1988 

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• NZ Flora Series Vol 5  Year: 1985 

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• Ritchie, A.: Concerto for Three: "Comming of Age"; facsimile 

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• Ritchie, A.: Concerto for 3: 'Coming of Age'; facsimile 

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• Biddington: Concerto for Two Violins and Strings; facsimile 

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• Biddington: Concerto for Two Violins and Strings; facsimile 

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• Eric Biddington - Finale from Concerto for Two Violins and String Orchestra 

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• Biddington: Cantilena  Year: 2005 

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Using the baroque concerto as a model, this work is designed to feature a baritone voice, of which bassoon, baritone saxophone, and even bass clarinet would work effectively as soloists. The key of B minor was chosen for its ease of playing and dark yet resonant qualities in the string ensemble. The first movement is a deviation from the traditional form of theme-and-variations, in which the theme is expressed with ever-accelerating note values while maintaining the same steady tempo. First, a somber statement in quarter-note octaves arcs across the landscape of strings, from basses and cellos to the first violins and back, then picked up and transformed by the cello solo with an edge of longing. The icy second statement of the theme in eighth notes allows the cello to push against the ensemble a little in the contrast of the solo string tone, while the warm triplets of the third statement give the ensemble a chance to work out. The brief cadenza that follows pushes the theme from quarter notes to eighths to triplets, finally settling on the 16th notes that drive the theme to a bustling conclusion.

The second movement relies on simplicity in its use of the ABA aria form. The cello’s gentle but indulgent melody floats over a cushion of pulsing chords. The strings introduce a countermelody in triplets that leads up to a solemn chordal statement, and then becomes a factor in the development of the original melody.

The concluding rondo blends both the modern and baroque concepts of the “hook,” a catchy phrase that sticks in the mind because of some unusual note. In this case, the snag is a diminished 5th, more common to the blues than to the baroque concerto. Here it is explored using all of the opportunities that the freedom of the rondo form allows, boldly stated at the beginning, punctuating episodes of development, sneaking in at times where it is least expected, then bringing the movement to a close with a feeling of unsettled finality.

• Goss: Concerto in b minor; computer-set 

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• Goss: Concerto in b minor; computer-set 

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• Goss: Concerto in b minor; computer-set 

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• Goss: Concerto in b minor; computer-set 

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• Thomas Goss: Concerto in b minor 

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Double Bass Concerto in e minor was written as a showpiece for the more natural characteristics of the double bass, such as the warmth and solidity of plucked strings, the ease of harmonics, the resonance of open strings, and the extended 4-octave range. The double bass is a member of the viol family, with an inherently more delicate quality to its timbre than its modern orchestral cousins the violin, viola, and ‘cello. As a solo instrument, it offers an alternate view of virtuoso string playing; a low register dark with rich, complex broodings, a middle range filled with anticipation and veiled longing, and an unusually graceful and poetic high compass bereft of throaty tension or shrillness.

This concerto is written in the form of a rhapsody or capriccio, in one movement with an extended, freer exposition. Under alert tremolo, the bass opens with an impulsive statement that climbs three times from its rock-bottom open E string to its highest harmonics. The strings answer with a quiet, gentle elegy, soon transformed by the bass into a more yearning episode that ends on an unsettled note. A bravura melody leaps forth from this cloud, a folk-dance tune that gambols between soloist and orchestra, leading the music through restless changes of key and expectation. A heartfelt strain emerges, eventually guiding the music to a floating, dreamy musical landscape. Over pulsing strings, the bass ponders the themes of the concerto in tender detail throughout its range of pitch and color, suggesting a haven of peaceful beauty. The previous mood springs back to life in a boisterous answer, leading to a cadenza in which the bass’s ruminations are gruffer and more pointed than before. In the final coda the strings return to their elegy, then the bass takes the orchestra back to the beginning, reversing the sprawling gestures to drift down from the heights, fading to silence on a lingering octave E.

• Goss: Double Bass Concerto in e minor; computer-set 

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• Goss: Double Bass Concerto in e minor; computer-set 

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• Goss: Double Bass Concerto in e minor; computer-set 

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• Goss: Double Bass Concerto in e minor; computer-set 

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F.S.M. could stand for: Fabricated Sheet Metal; Fault Summary Message; Federated States of Micronesia; Female Seeking Male; Fiji School of Medicine; Financial Services Marketing; Finite-state machine; Fire Safety Manager; Flying Spaghetti Monster; Franciscan Sisters of Mary; Free Speech Movement; Frequency Shift Modulation; Full Screen Mode and at least 250 other possibilities.

Hallelujah is used to express praise or joy.

It is conceivable that the title of this piece has some relevance to the music. It is less likely that this programme note will help the audience to determine the relevance of the title or compositional intent of the composer.

• Adams: F.S.M. Hallelujah!; computer set 

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• Adams: F.S.M. Hallelujah!; computer set 

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“And going a little farther, he fell on his face and prayed, saying ‘O my Father if it be possible, let this cup pass from me; yet not as I will, but as thou wilt.’”

“And these appeared to him an angel from heaven strengthening him. And being in an agony, he prayed more earnestly: and his sweat was as it were great drops of blood falling down on the ground.”

Matthew 26:39, Luke 22:43-44

• Clark: Gethsemane; computer-set 

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• Clark: Gethsemane; computer-set 

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