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Written in response to Bartok’s ‘44 Violin Duos’(1931) which were based on traditional East European melodies. Bartok was concerned that such tunes would become extinct and wanted to preserve them. ‘Birds Reply’ is also intended as an educational resource although the pieces are original compositions with Celtic, English, Balkan and Klezmer influences. On this recording Chris Prosser plays both violin parts.

• Prosser: Birds Reply to Bartok; computer-set 

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• Prosser: Birds Reply to Bartok: 44 Violin Duos; computer-set 

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• Accordatura Violin - Chris Prosser 

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• Prosser: Birds Reply to Bartok - 44 Violin Duos  Year: 2003 

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• Biddington: Concerto for Clarinet and Strings; facsimile 

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• Biddington: Concerto for Clarinet and Strings; facsimile 

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• Biddington: L'Estro Armonico  Year: 2006 

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• Biddington: Concertos for Flute, Clarinet, Oboe, Viola and 2 Concerto Movements  Year: 2010 

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• Eric Biddington: Rendez-vous  Year: 2007 

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• Biddington: Concertos for Flute, Clarinet, Oboe, Viola and 2 Concerto Movements  Year: 2010 

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• Biddington: Concerto for Viola and Orchestra; computer-set 

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• Viola Concerto by Eric Biddington 

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• Eric Biddington - A Piece for Maurice 

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• Eric Biddington - Concerto for Viola and String Orchestra 

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• Eric Biddington: Rendez-vous  Year: 2007 

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• Biddington: Concertos for Flute, Clarinet, Oboe, Viola and 2 Concerto Movements  Year: 2010 

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The title of this work may seem unexpected as there is no ‘Concert Grosso No. 1’ in my list of works! However I’ve always considered my 1985 work for strings and percussion ‘Well Done, Mister Bach’ to be a concerto grosso. That work features the leaders of all five string parts as a ‘concertante’ group. In a more traditional Baroque manner, this work features just the leaders of the first and second violin and cello sections as the soloists. My intention with the work was to write something in the manner of a Baroque concerto grosso, drawing inspiration from typical styles of the period. Mixed in are my own musical and compositional preferences, so that in the end the piece might be described as ‘Baroque meets minimalism’. I finally gave into the temptation to give the three movements titles. The title, ‘Prelude’, of the first movement is a little ironic as it is longer than the remaining two movements combined. The second movement, ‘Air on a Shoestring’ suggests a rather brief, perhaps truncated air, in this case, a piece which fails to return to its home key. The final movement is in the manner of a Baroque fugue, I knew that university paper would finally come in useful one day!. ‘Concert Grosso No. 2’ was commissioned by the Music Department of St Cuthbert’s College in Auckland, and follows a commission from them the previous year for ‘Whisper to me’ (for choir, strings and percussion).

• Hamilton: Concerto Grosso No. 2; computer-set 

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• Hamilton: Concerto Grosso No.2; computer-set 

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Jangeran seeks to bridge the musical gap between East and West: a Balinese melody is appropriated by the Western orchestra and is recast in a range of Western contexts. At various points a gamelan ensemble, embedded in the Western orchestra, emerges and reasserts ownership of the musical source materials while at other times the two bodies combine to explore new and strange syntheses of culture, movement and soundworlds.

Jangeran was commissioned and premiered by the Nusantara Symphony Orchestra in Jakarta in May 2005, conductor Edward Van Ness, with further performances in Osaka and Tokyo, Yogyakarta and Jakarta.

• Watson: Jangeran; computer-set 

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• Watson, C.: Jangeran; computer set 

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A medicine bundle is part of the traditional teachings and practices of the First Nations peoples of North America. The title of the first Medicine Bundle piece, which I wrote as one of the many invited composers worldwide to contribute a piece for pianist Ananda Sukarlan’s Concerts for Bali commemorating the Bali bombing of October 2002, was my response to an article published in the Toronto Star, where an elder of the Six Nations Reserve of southern Ontario spoke of a ‘medicine bundle’ found within each of us; a place of healing and transformation which we can tap into in times of strife and need. I envisaged the bundle in this case as a bundle of notes from which the performer(s) can freely bring their own sensitivities, experiences and responses to the work’s realisation.

The score consists of one page allowing for a varying page orientation.

• Carey: Medicine Bundle (No. 2); facsimile 

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• Carey: Medicine Bundle (No. 2); facsimile 

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A medicine bundle is part of the traditional teachings and practices of the First Nations peoples of North America. The title of the first Medicine Bundle piece, which I wrote as one of the many invited composers worldwide to contribute a piece for pianist Ananda Sukarlan’s Concerts for Bali commemorating the Bali bombing of October 2002, was my response to an article published in the Toronto Star, where an elder of the Six Nations Reserve of southern Ontario spoke of a “medicine bundle” found within each of us; a place of healing and transformation which we can tap into in times of strife and need. I envisaged the bundle in the three previous Medicine Bundle pieces as consisting of a bundle of notes from which the performer(s) can freely bring their own sensitivities, experiences and responses to the work’s realisation. Unlike my other medicine bundle pieces however, this Medicine Bundle does not allow for different realisations of the score – instead, the focus is on the different voices “speaking together” in a common tongue.

‘Medicine Bundle’ was first performed in a version for solo piano by Ross Carey at the Dunedin Composers’ Group concert in August 2005.

• Carey: Medicine Bundle (No. 4); facsimile 

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• Audain: O'Jonathan's Concerto; computer set 

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• Audain: O'Jonathan's concerto; computer set 

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• Audain: O'Jonathan's Concerto 

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This concerto is a sunny and life-affirming work. There are moments of reflection however, such as the slow introduction, where a long melody on piano is picked up by the strings in the orchestra. Elements of this melody become the basis for the ’allegro’ that follows which features three main ideas. The second of these, on piano with strings playing pizz. and col legno, is hyperactive and unpredictable. By comparison, the third theme that emerges on piano solo is more lyrical, and neo-classical in style. A busy development section builds to a climax and themes appear in reverse order. The fleet-footed coda features canonic entries and the movement comes to a bubbly conclusion.


In the slow movement a modal melody is undercut by dissonances on the piano, suggesting painful memories. The melody is passed over to the flutes, and back to the piano in a quasi-improvised passage. A second theme appears on the violins, lyrical and arching. After development of the theme, the piano has a short solo that brings the music back to the opening. Following an unexpected modulation the main theme is varied by the orchestra, leading to a short, quiet coda.


The finale is a whimsical, neo-classical piece, descriptive of the movements of wind-up toys. Dramatic gestures are really only mock-dramatic, and serious ideas give way to playful fun as ideas are shared quickly between orchestra and piano. The percussion have something to say near the end, suggesting toy soldiers, before the pieces comes to a rapid end.

• Ritchie: Piano Concerto No. 3; computer-set 

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• Ritchie: Piano Concerto No. 3; computer-set 

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• Anthony Ritchie: Piano Concerto No. 3 

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• Two Pieces by Anthony Ritchie 

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