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In 1995 I was approached by the NZSO to write an overture to commemorate the recent death of New Zealand’s most famous war hero, Sir Charles Upham. Upham was famous for having won the Victoria Cross twice for bravery during World War II. He was, however, extremely modest when it came to discussing his achievements. Some years before his death it was suggested to Upham that he have a state funeral; he simply replied, “A bugle will do”. This comment seemed like a good starting point for my piece.

There are no bugles in the orchestra, but the opening section depicting the horrors of battle contains plenty of brass. Sub-titled Maleme and Ruweisat Ridge, the music is fast and furious, built from several motifs, and includes the opening rhythm for the most well known Maori haka (war dance), Kamate, kamate. The music builds to a climax, and the scene changes to a bleak Colditz Castle, where Upham was imprisoned during the war. While in prison he dreams of rural NZ, and the farm near Kaikoura called ‘Landsdowne’, where he eventually settled after the war. This brief pastoral section links into a coda celebrating the outbreak of peace. Motifs from earlier in the piece return but changed into brighter modes. ’

A Bugle Will Do was first performed by the NZSO in 1996 under Andrew Sewell, and was subsequently performed in the USA.

• Ritchie, A.: A Bugle will Do; computer-set 

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• Ritchie A.: A Bugle will do; facsimile 

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• Anthony Ritchie: A Bugle will Do; video 

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• Music by Anthony Ritchie 

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• Farquhar: A little Song-Suite; facsimile 

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• Farquhar: A little Song-Suite; facsimile 

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I. Preludio is based on the phrase heard at the start of the piece; elaborated with triadic harmonies. II. Variazioni is a simple intervallic theme with variations. Composed for guitarist Kazuhito Yamashita, who requested a piece for solo guitar. He first performed the work at Kirishima, Kyushu in February, 1996.

• Carey: A wish; facsimile 

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• Carey: A wish; facsimile 

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• Evans: Akaroa; computer set 

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This work was inspired by seeing interviews with returned servicemen on the television programme New Zealand at War. The emotional power of their recollections of long hidden experiences led me to look for ways to express my feelings about the horrors of war. The setting attempts to make a stark contrast between the imagery of the poetry and the music.
(Ross Harris 1996)

• Harris: ...and the final sky; computer set 

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• The Waiteata Music Press Piano Album; computer-set  Year: 1995 

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• Psathas; Baw My Barne; computer set 

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• John Psathas: works 

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• Farquhar: Blues and Pinks; facsimile 

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• Psathas: Calenture; computer-set 

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• John Psathas: Rhythm Spike  Year: 1999 

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The first in my Chaos of Delight series of pieces based on birdsong, Chaos of Delight I requires the bass clarinettiest to trill, click, screech, book and roll in a virtuosic display of avian sonorities, using the full range of the instrument, from the boom of the kakapo to the shriek of the the morepork and the bleat of the bush falcon. All these can be heard amongst sounds which exploit the unique characteristics of the bass clarinet, such as its uncannily high register, slap tonguing and multiphonics.

The title is taken from a passage in A Field Guide to the Birds of New Zealand by Falla, Gibson and Turbott: “…there are still many quiet places far from the madding crowd, where the mind can become, in Darwin’s phrase, ‘a chaos of delight’ at the abundance and variety of birds which pass before the eye or perplex the ear.”

• de Castro-Robinson: A Chaos of Delight I; facsimile 

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• De Castro-Robinson: Chaos of Delight I; computer-set  Year: 2006 

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• A Chaos of Delight: music by Eve de Castro-Robinson  Year: 1998 

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• X – Ros Dunlop plays music for clarinet  Year: 2001 

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