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Angels Flow was composed for harpist Helen Webby, for her CD of New Zealand harp music, entitled ‘Pluck’. This piece imagines a parallel between the sound of harp music and the movement of spirits, or angels. In some cultures, such as Maori culture, sounds produced by instruments have spiritual properties. Music can tap into a part of the mind that transcends reality, and puts us in touch with imaginary, spiritual worlds. In this piece the flowing movements of the angels are unpredictable and capricious. A gradual modal change through the piece finds rest at the end, as the music descends to the lower register of the harp.

Angels Flow was premiered in the 2012 Otago Festival of the Arts, and is one of ten works commissioned and recorded by Helen Webby for her CD ‘Pluck’, released by Ode Records (Manu 5144). Helen Webby wishes to acknowledge the generous support of Creative New Zealand, University of Otago and John Egenes, producer. ‘Pluck’ is the first anthology of New Zealand harp music.

• Anthony Ritchie: Angels Flow - hardcopy score 

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• Helen Webby: Pluck  Year: 2012 

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CYTOKINESIS – an organic process consisting of the division of the cytoplasm of a cell. The cytoplasm here referred to is the first chord, which quickly morphs through several divisions and variations, taking us on a short journey with some unexpected pit stops along the way. In keeping with the playful nature of the piece there are references to flamenco, jazz and various dance rhythms, but I’ve kept a watchful ear to ensure the music doesn’t stray too far from its basic roots.

• Mike Nock: Cytokenesis; video 

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Fantasia in August was composed in the first 2 weeks of August 2011, hence the title. It is part of an ongoing effort to find a viable, non-tonal, post-serial musical language. The piece is composed in shortish sections that run into each other without breaks. There are a few oblique salutes to composers or pieces I admire, the most obvious being to Benjamin Britten’s Nocturnal. The piece is also something of a lament for a near and dear relative who passed away when I was beginning to think about it.

• Michael Calvert: Fantasia in August; video 

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• Dylan Lardelli: Hiki-Iro - hardcopy score 

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It bites was composed especially for Alyssa Reit during the summer (February) of 2011. The piece comprises musical material designed to weave the sounds of two lines, one higher and one lower, in and out of each other, a constant state of flux, contrast, and sustain.

• Killin: It bites; computer-set 

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• Killin: It bites; computer-set 

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When Helen initially asked me to write her a lever harp piece, one option that arose in discussion was that of using a loop pedal. This created many possibilities for the piece, but also created limits in the way I could use certain material. After the expansive opening, Strata uses multiple layers built up of patterns played over top of each other. The constantly repeating riffs drive the piece, and the melodic material weaves around this, sometimes in sync and sometimes purposely against the underlying patterns. Strata was written while I was Mozart Fellow at the University of Otago in 2011.

• Chris Adams: Strata - downloadable PDF 

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• Helen Webby: Pluck  Year: 2012 

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This suite for solo guitar consists of three popular dance forms associated with Argentina – Tango, Rumba and Milonga.

The Tango and Rumba were submitted in the New Zealand Classical Guitar Composition Competition in 2011 where they won third prize. The Milonga was later added. Each movement draws upon certain stylistic influences synonomous with music of this genre within the framework of popular dance forms.

Edited and revised by Matthew Marshall

• Ross: Three Dances of South America; computer set 

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• Campbell Ross: Rumba from Three Dances of South America; video 

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• Campbell Ross: Two Dances; video 

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J.S. Bach is sitting on your shoulder. He’s been there for a fair while now. And he makes no apologies for his boofy wig, facial powder that quite possibly enters the room more than a moment before he does, or those wonderfully-ornate clothes that these days would, well… actually, probably render a great many gentlemen jealous.

He goes for a stroll. This bass is not a ‘figured’ bass, thank you very much, it’s a ‘walking’ bass. First stop is a cinema where they are showing a film with a soundtrack by Philip Glass. I think our Baroque man J.S. is inspired to write more chorales at this point. Following a happy hop, skip and jump down the road, however, he stops by a park, where all present are taking in the reggae… and this time he ends up staying a little longer than he had planned to… until it is time to go home via a Fleet-ing performance by a local band.

This piece is dedicated to someone who on one occasion texted me saying they were ‘walking bach’ to my house. Pun apparently intended.

• Audain: Walking Bach; computer-set 

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