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Helen Fisher  

Bone of Contention

Duration: 1h 20' 00" Year: 1993
a dance work for mezzo-soprano and ensemble

John Rimmer  

Galileo

Duration: 1h 30' 00" Year: 1998
a chamber opera using for 6 singers, small chorus and 8 players, also using electroacoustic music and DVD of visuals

  • Instrumentation
    Television newsreader (spoken voice), Nobelman (baritone), Castelli (tenor), Galileo (baritone), Boy/Angel (mezzo soprano), Three Priests (tenor/baritones), Heretic (baritone), Christina (soprano), Military Man (baritone), Sea Captain (baritone), Troubadour (mezzo soprano), Cardinal Bellarmino (tenor), Pope Urban VIII (bass baritone), Pope John Paul II (baritone), small chorus of townspeople; flute doubling piccolo, oboe, clarinet doubling bass clarinet, horn, piano, percussion, violin and cello. Electroacoustic music played through at least eight loudspeakers. DVD of visuals.
  • Availability

Gillian Whitehead  

Ipu

Duration: 42' 00" Year: 1997
for narrator, taonga puoro (Maori instruments), jazz piano and cello

Jonathan Besser  

Jean

Duration: 1h 30' 00" Year: 1990
ballet in three acts for full orchestra, based on the life of Jean Batten

Gillian Whitehead  

Outrageous Fortune

Duration: 1h 58' 00" Year: 1998
a chamber opera in two acts

Andrew Perkins  

Symphony - Der Bote

Duration: 30' 00" Year: 1992
for mezzo soprano and orchestra

Tecwyn Evans  

Symphony - Organ

Duration: 53' 00" Year: 1995
for full orchestra and organ

Christopher Blake  

Symphony - The Islands

Duration: 43' 00" Year: 1992, r. 1995
for orchestra

Anthony Ritchie  

Symphony No. 1 - 'Boum'

Duration: 32' 00" Year: 1993
for full orchestra

  • Instrumentation
    (1)222(1)alto sax2; 4231; perc; timp; strings
  • Programme Note

    The title of this symphony comes from the ominous tam tam stroke that opens the first movement, a mysterious sound heard by two of E M Forster’s characters in A Passage to India when they investigate the Marabar Caves. This is a sound which symbolises the mysteries of life and death, although Ritchie warns us not to take it all too literally. “The echo is only a starting point to a general theme of human struggle. The listener can interpret the music in his or her own way.”

    The first movement opens sonorously in the tonality of G, pulsating chords leading us inevitably to the first main theme, a theme that Ritchie himself characterises as a “muscular, Brucknerian theme”, although the momentum that it engages owes more to Shostakovich. A sinuous saxophone theme is very significant in the central section, as is the lengthy oboe theme in the moderato section. The second movement opens with the sharp, bright sounds of oboes and clarinets accompanied by Cook Islands log drums. The log drum punctuates the movement’s textures and creates a sense of propulsion. A light-hearted dance introduced by string quartet offers an opportunity for a change of mood. The third movement is a lament for the victims of the Bosnian wars.

    The highly evocative scoring of the opening pages was inpsired by the wailing of a Maori karanga, while tolling bells imbue this elegy with a special sense of tragedy. The symphony ends with a ‘grand dance’ which shows Ritchie has not been untouched by rock music. Several themes are brought together in an ecstatic coda, after which the music slowly unwinds over a reiterated pedal note. The opening of the first movement returns, and the final sound we hear is a single stroke on the tam tam.

    Symphony No.1 ‘Boum’ was completed while Ritchie was Composer-in-residence with the Dunedin Sinfonia in 1993, and first performed the following year, under the baton of Sir William Southgate. It has received numerous performances, and was recorded for radio by the NZSO, in 1998, Auckland Philharmonia in 1996, Dunedin Sinfonia in 1994.

  • Availability

Dorothy Buchanan  

The Clio Legacy

Duration: 55' 00" Year: 1991
for woman narrator, mezzo, SSA choir and Maori womens' choruses and orchestra