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• Daverne: Caprice; computer-set  Year: 1989 

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• Gary Daverne: Accordion Concert Music 

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• de Castro-Robinson: Efflux; facsimile 

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• de Castro-Robinson: Efflux; facsimile 

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• John Elmsly (ed.): Canzona Vol 7 No 23  Year: 1985 

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• de Castro Robinson: Works 1 

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• Rimmer: Fantasia; facsimile 

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• Holmes: Fantasia II for Piano; facsimile 

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• Whitehead: Five Bagatelles; facsimile 

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• Whitehead: Five Bagatelles; facsimile 

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• Gillian Whitehead: Five Bagatelles; audio 

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‘Four Short Pieces’ were commissioned for Allen’s Australian Bicentennial Anthology of piano music, published in 1988 and now long out of print. The details of the first performance are unknown; the first performance I heard was by Anna Klymashivka in Sydney in 1996. The pieces perhaps suggest nature images, but the only one that was a reaction to something specific is the last, which was suggested by watching and hearing a beck in spate (or flooded stream) on the west coast of Scotland

• Whitehead: Four Short Pieces; computer set 

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• Whitehead: Four Short Pieces; computer 

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A piano piece of beyond diploma difficulty. It depicts stormy conditions on the Desert Road which runs through the central North Island of New Zealand, passing through a large, elevated tract of barren land franked by three large mountains. The terrain produces some awe-inspiring displays of nature and the ancient Maori people crossed this land only when absolutely necessary. They called the area “Rangipo” (Dark Sky).

• Caskie: Landscape No 1. The Dark Sky; facsimile 

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• Caskie: Landscape No 1. The Dark Sky; facsimile 

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When composing this piece I had in mind a portrayal of my two-year old son Tristan, and the effect he had on my life. It seems to me that living with a young child can uncover previously hidden aspects of a parent’s personality. A high degree of sacrifice is demanded. This can make parents into more caring people, but it can also place them under enormous stress. The ways in which we react reveals significant things about ourselves, such as our levels of tolerance, and our ability to communicate.

Although these ideas provided the stimulus for Music for Tristan, there is no specific programme of events in the music. Much of the material in the piece derives from the opening melody. There are five main sections in the piece, forming an arch (A B C B A). The outer sections are slower and expressive, while the inner sections are fast and dynamic.

• Ritchie A.: Music for Tristan; facsimile 

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• John and Anthony Ritchie: Caricatures; computer-set  Year: 2003 

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• SOUNZfine Volume 1  Year: 1996 

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• Expressions - piano music by Anthony Ritchie  Year: 2010 

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Olveston Suite was composed in 1988 while Anthony Ritchie was Mozart Fellow at the University of Otago. The manager of Olveston House in Dunedin, Mr Dennis Moore, asked Anthony to play a programme of music in Olveston, on the 1904 grand piano. In response to a joking suggestion for a piece about the house, Anthony set about composing the Olveston Suite in quick time.

The pieces reflect qualities of the house; ‘Great Hall’ is expansive and majestic, ‘Kitchen and Scullery’ is busy and bubbling, while ‘Dining room’ suggests an old English style. The fourth piece, ‘Writing Room, Edwardian Bedroom’ is dedicated to Dorothy Theomin, the daughter of the original owners of Olveston and the last member of the family to live in the house. ‘Billiard Room, Persian Room’ is fast and jovial with an exotic middle section. The Suite is rounded off by a repetition of ‘Great Hall’, as the listener exits Olveston.

• Ritchie A.: Olveston Suite; computer-set 

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• John and Anthony Ritchie: Caricatures; computer-set  Year: 2003 

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• Expressions - piano music by Anthony Ritchie  Year: 2010 

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• Harris: Piano Piece; computer set 

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