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As I listened to media reports on the ownership of Young Nick’s Head, I began to wonder about the life of the real ‘Young Nick’, who first sighted this land from the deck of the ship Endeavour. What was life like on board the ship for the young boy, and how did it feel to sight the land? Various images came to mind, including a silhouette of land in the early morning light, or a murky shape barely visible through grey storm spray, or a dark smudge on a bright blue horizon. This piece was written with these images in mind.

For Young Nick was premiered by Wellington Youth Orchestra in 2003.

• Holmes: For Young Nick (hire set); computer set 

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• Holmes: For Young Nick; computer set 

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• Holmes: For Young Nick; computer set 

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• Leonie Holmes: For Young Nick; audio 

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Alberton is a historic, romantic 18-room timber mansion in Auckland. In the late 19th and early 20th century it was famous for its hunts, garden parties, dances, music and friendly welcomes, which is still evident today. The atmosphere of the Victorian period, with the ballroom and spacious grounds, is captured in this music. The powerful brass chords show the strong character of Allan Kerr Taylor, owner and builder of this stately home. The spirits of the three unmarried daughters, the last family residents, are solo woodwind features. The shimmering tremolo string passages and harp arpeggios depict the ‘ghostly’ games played by Aunt Muriel on the children.

• Daverne: Ghosts of Alberton; computer-set 

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• Daverne: Ghosts of Alberton; computer-set 

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• Gary Daverne: Gallipoli 

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• Hunt: Only to the Highest Mountain; computer set 

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• Hunt: Only to the Highest Mountain; computer set 

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• NZSO National Youth Orchestra 50th Anniversary  Year: 2009 

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The starting point for this piece was a curiosity in the metal doors that covered the entrances to cells imbedded in the cliffs near Andersons Bay inlet, in Dunedin. A friend informed me that during the 19th century Maori prisoners were kept there at night, and worked on the Dunedin Harbour land reclamation during the day. Some of these prisoners were brought down to Dunedin from Taranaki in the North Island, as a result of the conflict in 1881 at Parihaka.

Upon reading Dick Smith’s book Ask that Mountain – The story of Parihaka I learned of one of the most shocking incidents in our country’s history. The land wars of the 1860s provoked a new approach from Maori to the protection of their lands. Te Whiti, Tohu and their followers at Parihaka combated the Pakeha land grab by organising passive resistance through a variety of means. In response to unauthorised land confiscation Te Whiti ordered the ploughing of fields, building of fences and planting, all of which impeded the surveyors who wished to carve up the land for settlers. Many were arrested, offering no struggle, and soon prisons around the country were full. Despite the many injustices Te Whiti maintained his policy of passive resistance to the end. In November 1881, government troops entered Parihaka with guns and artillery. They were greeted by Maori women and children chanting songs, but no armed struggle. Te Whiti and Tohu were taken away, the Pa was broken up, and hundreds sent away to prison. Despite a press blackout, two reporters were smuggled into the Pa, one commenting that “it was one of the saddest and most painful spectacles I have witnessed”.

Remember Parihaka attempts to sum up my thoughts and feelings about the events at Parihaka. The slow opening is peaceful, like a sun rise, with melodic fragments that slowly unfold into a fuller, more passionate statement. Flutes and oboes announce a chant-like theme, based on an actual song composed at the time of the incident. This ‘Maori’ theme alternates with a more European-sounding theme on solo violin, accompanied by an Irish drum, the bowron. At the heart of the piece the various melodic ideas come together over a grinding, relentless bass, building to a climax. In the short postlude, the peace of the opening is suggested, but now it is tinged with sadness, and a slightly uneasy feeling.

Remember Parihaka was first performed in 1994, under the baton of John Hopkins.

• Ritchie, A.: Remember Parihaka (hire set); computer set 

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• Ritchie, A.: Remember Parihaka; computer-set 

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• Ritchie, A.: Remember Parihaka; computer-set 

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• Ritchie A.: Remember Parihaka; cassette  Year: 1994 

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• Remember Parihaka - orchestral music by Anthony Ritchie  Year: 2009 

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Composed over 9 days in 2003, the idea of writing a piece of music with such a title developed while writing, over a ten year period, an opera based on the life and hardships of Wesleyan and Anglican missionaries in the South Pacific. The setting for this opera is mainly in the northern region of New Zealand in the 1830s, leading up to the signing of the Treaty of Waitangi in 1840. The main theme based on the expression Tribal Ritual and Pacific Island drum rhythms (Tongan) are the major features in the structure of the composition.

• Daverne: Tribal Ritual; computer-set 

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• Gary Daverne: Gallipoli 

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