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• Palmer: Cypress; computer set 

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• Palmer: Cypress; computer set 

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• Jonathan Besser: Danceabout 

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• decadence - celebrating 10 years of Besser and Bravura 

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• New Zealand Music for Creative Dance 

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• Scullion: Peaks to Plains  Year: 2000 

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• Scullion: Springsound  Year: 2001 

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In my work as a composer I have found bringing together classical and jazz musicians to be a rich and unique way of working. I have experience in both fields and my compositional talent and interest lies genuinely across the two art forms.

This piece has been specifically composed for these performers and their unique sets of skills. Each performer is of a very high calibre and each possesses something special and unique in their playing and approach to music making. Mike Kime and Reuben Derrick often have moments of freedom as they are both accomplished improvisers. Gretchen Dunsmore and Mark Le Roche are classically trained performers with excellent skills and intelligent ears and minds. I knew that each of them would bring something to the work that would be unique and exciting.

More recently my creative interest in movement and form has expanded to contemporary dance and I wanted to involve and include another artistic discipline in this work. Collaborating with Julia Milsom has been an exciting new venture for me. The nature of the sounds within the piece are highly applicable to contemporary dance and have been interpreted and expressed with considerable talent and skill by Julia.

Layers of sound in time is a theme I have developed extensively in the piece. The layers interact, evolve, contrast, compliment, and conflict with each other to create a depth of space and time between them.

The work is an exploration of the timelessness that comes in moments of deep introspection through evocative sounds and movement.

Alex van den Broek

• van den Broek: Still Standing Silent; computer-set 

  Full score | Pdf - computer set
  
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• van den Broek: Still Standing Silent; computer-set 

  Full score | Hardcopy - computer set
  
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• Alex van den Broek: Still Standing Silent; video 

  Media on Demand | Embedded
  

• Alex van den Broek: Still Standing Silent  Year: 2009 

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• Ritchie A.: The God Boy; Computer Set 

  Vocal score | Pdf - computer set
  

• Ritchie A: The God Boy; computer-set 

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• Ritchie, A.: The God Boy; computer-set 

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• Ritchie A.: The God Boy  Year: 2004 

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• Anthony Ritchie and Jeremy Commons: The God Boy  Year: 2004 

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• Opera Otago: The God Boy by Anthony Ritchie  Year: 2004 

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Central Otago holds a special place in the hearts of many people. This is clear to see in the wonderful book called ‘Timeless Land’ which combines the paintings of Grahame Sydney with the writings of Brian Turner and Owen Marshall. We decided early on to focus on the Maniototo, which is Grahame’s spiritual heartland and which has inspired so many of his great works. For me the Maniototo suggests a variety of feelings: awe at the expansiveness of the land and the surrounding ranges. There is the exhilarating beauty of the different seasons: the Autumnal colours for instance, or the bleak Winter images. There is the strange sense of freedom and escape that one experiences driving through the Maniototo. There can also be an overwhelming sense of loneliness, and feelings of insignificance when placed in such a vast, un-peopled landscape. Then there are the reminders of human impermanence, with decaying and abandoned structures, old graveyards and memorials. The Maniototo will mean different things to different people, but in this work I have tried to portray it in sound, as I feel it in my heart. So the music is not simply descriptive, or impressionistic; it also reflects human moods and emotions. While the music is designed to be combined with images, it can also stand alone. There is a loose symphonic structure in the four movements, with recurring themes and motifs. Most significant of these are the opening cornet melody, and an assertive cornet call that first appears in the middle of the second movement. This cornet call has a vague connection with The Last Post, and becomes a reminder of death in the third movement. Most themes and ideas in the music derive from the manipulations of a 5-note motif, using magic squares. The 5-note motif, which is never openly revealed in the piece, comes from a short Magnificat, composed at the time of my mother’s death in 2001.

• Ritchie A.: Timeless Land; computer-set 

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