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In 3 movements, this work was reviewed as follows, “There are proper tunes, there are pattems that can be traced, brass and percussion in abundance, and rhythms that dance light off the stage at you.” Christchurch Press 11-95. This work was commissioned and premiered by the Christchurch Symphony Orchestra.

• Norman: Concerto; computer-set 

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• Orchestra Works: Body and Norman 

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The Double Concerto was designed to explore the unusal combination of solo instruments, extend the soloists and, at the same time, be performable by regional orchestras.

The opening movement has a lilting quality and is based on the Brahms’ lullaby, which only appears (abridged) at the end, played on glockenspiel. The three themes that appear in this movement are related, in some way, to this lullaby. The movement is dedicated to my daughter Annabelle, who was born some months before the composition of this work. A short melody based on letters from her name (A-A-B-E-E) is played by the soloists in the coda.

By contrast, the second movement is fast and jagged, with a somewhat playful second theme shared between the soloists and woodwinds. The main theme has a toccata-like quality, and builds up to a strong conclusion.

Whereas birth was the theme behind the first movement, it is death that concerns the third, and in particular the sudden death of a close friend and musician, Angela Campbell, at the time of writing this concerto. It is an intimate piece for the two soloists only, and based on letters from Angela’s name (A-G-E-A) which are heard at the beginning as a recurrent bass line. The cello melody at the start is a variation on a melody from the first movement, suggesting birth and death are inextricably linked.

The mood lightens in the finale which is a slightly bizarre waltz based on two contrasting themes. Near the end, the soloists have a cadenza which flows into the coda uninterrupted.

• Anthony Ritchie: Double Concerto for bass clarinet and cello - hire set 

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• Anthony Ritchie: Double Concerto for bass clarinet and cello - hardcopy score 

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• Anthony Ritchie: Double concerto for Bass clarinet and Cello 

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

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Tabuh Pacific was composed as a lively dialogue between two diverse instrumental ensembles, the symphony orchstra and the Balinese gamelan. Like the orchestra, the gamelan is a large ensemble of multiple timbres, primarily percussion.

The pitched elements of the gamelan gong kebyar are tuned to a five-note scale covering several octaves, and each member of the ensemble plays a limited number of single pitches. Consequently, the music of one individual in the group is meaningless until it weaves and blends with the other players to create a multitude of intricate, delicate patterns. These patters (kotekan) shift and interlock in subtle, graceful combinations which are occasionally articulated by the booming resonance of the largest gongs, and the drums which signal time and sectional changes.

Tabuh Pacific is sort of concerto for two orchestras which take turns in displaying the types of sounds with which they are traditionally associated – the gamelan, bright and energetic or smooth and flowing; the orchestra, heavy and romantic or transparent and static. The groups alternate for a while and then come together in a crazed romp at the end of the piece.

Gareth Farr

• Farr: Tabuh Pacific; computer-set 

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• Tabuh Pacific  Year: 1995 

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• Gareth Farr: Orchestral Music  Year: 1997 

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• Gareth Farr: From the Depths Sound the Great Sea Gongs  Year: 2009 

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• Gareth Farr: Te Papa  Year: 1998 

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• Gareth Farr: From the Depths Sound the Great Sea Gongs  Year: 2009 

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Scored for E flat, B flat and bass clarinets with orchestra this work was reviewed as, “a magnificent reward to the Auckland Philharmonia Orchestra…a civilised and serious piece, but also delightfully witty…scored with a delicacy and sophistication that shows a very sure ear, alert to the details that enliven an orchestral score.” Rod Biss, NZ Listener “The music is over-flowing with colourful percussive strokes and tongue-in-cheek parody.” Matthew Suttor, Music in NZ “The three clarinets effectively behave as a ‘super-clarinet’ with an enormous range of five octaves. Set against the other instruments…the result is a vibrant glitter of timbre.” Suzanne Court, Music in NZ.

• de Castro-Robinson: Triple Clarinet Concerto; facsimile 

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• de Castro-Robinson: Triple Clarinet Concerto; facsimile  Year: 1995 

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• Eve de Castro-Robinson: Other Echoes, music for orchestra 

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• Auckland Philharmonia Orchestra: New Zealand Music 5 

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• SOUNZfine Volume 2 

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• De Castro-Robinson: Triple Clarinet Concerto and other works 

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