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picc, 2fl, 2ob, 2cl, alto cl, bs cl, ten sax, bari sax, bsn, 2tpt, 2hn, 3tbn, euph, tba, timp, vib, xyl

• Rimmer: Autumnal Alleluias; computer-set 

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• Rimmer: Autumnal Alleluias; computer-set 

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• Rimmer: Autumnal Alleluias; computer-set 

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2222; 4331; timp; 2 perc; hp; strs

• Karlo Margetic: Bioluminescence - hardcopy score 

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• Karlo Margetic: Bioluminescence - hire set 

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• Karlo Margetic: Bioluminescence - downloadable PDF 

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• 2006 NZSO/Todd Corporation Young Composer Awards  Year: 2006 

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3222;4231; timp;2 perc;hp;strings

• Rimmer: Breathalyzer; computer-set 

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• Rimmer: Breathalyzer; computer-set 

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2222 4231 timp 2perc strings

• Hextall: Bridge of Remembrance; computer-set 

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• Hextall: Bridge of Remembrance; computer-set 

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• Hextall: Bridge of Remembrance; computer-set 

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• Hextall: Bridge of Remembrance; computer-set 

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• 2006 NZSO/Todd Corporation Young Composer Awards  Year: 2006 

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• Biddington: Concerto Movements and Music for Strings 

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• Biddington: L'Estro Armonico  Year: 2006 

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(1)2222; 4331; timp., perc. (3); strings E flat clarinet instead of Cl. 2 Percussion: xylophone, glockenspiel, snare drum, bass drum, tom toms, suspended cymbal, crash cymbals, triangle, woodblock, castanets

In 1975 when Shostakovich died I was in the fourth form at St Bedes College and already hooked on the music of the Russian genius. When the death notice appeared in the paper I solemnly set to work on an orchestral piece ‘Dedication to Shostakovich’, much to the amusement of my schoolmates. Now, 31 years later, and during the centenary celebrations of Shostakovich’s birth, I have had the opportunity to write another dedication to the composer, courtesy of the Christchurch Symphony and Otago University (who funded the commission).

When the idea of writing a piece based on a Shostakovich theme was first suggested, I immediately thought of a ‘Theme and Variations’. However, I found it too difficult to settle on a single theme – there were so many good ones to choose from! This gave me the idea of basing the piece around more than one quotation from the composer’s oeuvre. Shostakovich himself was fond of quoting other composers’ works (and his own works also), as in the Eighth String Quartet when the quotations form a string of coded messages. I decided to take this route, and ended up creating a piece that quotes Shostakovich 14 times. Some of these quotations are literal ones, while others are more disguised. Some are quite lengthy and form a structure to base the music around, while others are very short and fleeting.

The Shostakovich of this piece is not the Shostakovich of the epic symphonies (although they have their place here). Instead, I use lesser-known early works as my starting point: those youthful, zany, cutting edge works that express an almost manic character on occasions. So the work opens with menace from the Fourth Symphony, followed by cheekiness from the Aphorisms for piano, and satire from The Age of Gold ballet. In amongst these are references to numerous other pieces, and particularly a deathly string chord from the 15th String Quartet. They are brought together through free-association of ideas, and a few recurring motifs. The final section uses a theme from the Tenth Symphony, second movement, as the basis for a frenzied conclusion.

When I wrote this piece I had in my mind the image of the crazed composer writing a sort of jumbled diary that lurches from farce to despair in rapid succession. Shostakovich was very fond of the 19th century Russian author Gogol, basing his first opera The Nose on one of Gogol’s short stories. Another of Gogol’s stories is Diary of a Madman, which uses the formula of ‘laughter through tears’, a formula that is very often present in Shostakovich, too. Therefore, my piece Diary of a Madman: Dedication to Shostakovich is designed as a funny/sad commentary on a great composer who’s music could induce both laughter and tears.

• Ritchie, A.: Diary of a Madman: Dedication to Shostakovich; computer set 

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• Ritchie A.: Diary of a Madman - dedication to Shostakovich; computer-set 

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• Two works by Anthony Ritchie 

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(1),1,2*,2,2;4,3,3,1;timp.,perc.1,2,3;strings Percussion: Player 1: Crotales, suspended cymbals, crash Cymbals, Tubular Bells, Marimba, Tenor Drum Player 2: Glockenspiel, Tubular Bells, Suspended Cymbals, Crash Cymbals, Snare Drum, Bass Drum Player 3: Vibraphone, Suspended Cymbals, Snare Drum, Bass Drum

La Sagrada Familia was inspired by the most unconventional church in Europe. The Temple Expiatori de la Sagrada Familia, which stands proudly in Barcelona was designed by Spain’s most prominent modernist architect, Antoni Gaudi. When I first saw it I was moved by its originality and beauty, I was also astounded by the creator’s incredible imagination. The piece is in two movements. Firstly, I have explored the foreboding nature of the building; the way it looks as though it were melting, twisting and almost lurching as it towers over you. Then in the second movement the music takes us on a winding journey down from the bell towers. Taking delight in the beautiful facades, shapes, glass and mosaics on the way.

• Toan: La Sagrada Familia; computer set 

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• Toan: La Sagrada Familia; computer set 

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• 2006 NZSO/Todd Corporation Young Composer Awards  Year: 2006 

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(1)2222; 4231; timp., perc. (3); organ (2-3 manuals and pedals); strings Percussion: bass drum, side drum, suspended cymbal, crash cymbals, xylophone, slapstick, tam tam)

‘Organ Overture’ was commissioned by the Southern Sinfonia to celebrate the orchestra’s 40th anniversary. It was written and funded as part of the composer’s work at the University of Otago. It features a prominent part for concert organ, and is also partly a tribute to ‘Norma’, the Dunedin Town Hall organ. Orchestras often bring together many threads of a musical community, and are a vital part of the culture in New Zealand cities. The diversity of instruments and musicians on display in an orchestra are a great source of inspiration for composers and music-followers alike. In this overture I give thanks to the Sinfonia, and wish it a long and happy future. Elements of southern weather find their way into the music. The piece opens stormily, with jagged lightning and rumbling thunder. A vigorous theme emerges and leads to a gusty, pulsating passage. As this calms a little, a drum rhythm appears. Following a flowing melody on strings, accompanied by the organ, the percussion rhythm battles with rest of the orchestra. This leads to a fugue on the woodwinds, based on the opening melody. The organ then takes over with a brief cadenza, leading to a rhythmic coda in which the main themes are summarised.

• Ritchie, A.: Organ Overture; computer set 

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• Ritchie A.: Organ Overture; computer-set 

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• Anthony Ritchie: Organ Overture 

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• Biddington: Peace for Hanna; facsimile 

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• Biddington: Peace for Hanna; facsimile 

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• Biddington: Concerto Movements and Music for Strings 

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• Biddington: L'Estro Armonico  Year: 2006 

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In Memory of Verona – drowned at sea 2005

In June 2005 my niece Verona sailed from Nelson heading for a romantic holiday in Rarotonga. She traveled with her beloved partner on his yacht. They ran into a severe storm north of New Zealand and were never found.

While writing this piece I came across reference to a quote from Tristan and Isolde in The Waste Land – “Öd’ und leer das Meer” – “desolate and empty the sea”. In both the Wagner’s and T. S. Eliot’s works the reference is to drowning at sea. When I discovered that the words were sung, in the opera, by the Shepherd (who plays Cor Anglais) it seemed appropriate for Te Moanapouri to end with a brief quotation from Act III of Tristan and Isolde.

• Harris: Te Moanapouri; computer set 

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• Harris: Te Moanapouri; computer-set 

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• Harris: Te Moanapouri; computer-set 

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• Harris: Te Moanapouri 

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