Symphony No. 5 "Childhood" Anthony Ritchie, Christchurch Symphony Orchestra & Kenneth Young

• Anthony Ritchie (b. 1960):
• 1Symphony No. 5: Mvt 1. Beginnings10:50
• 2Symphony No. 5: Mvt 2. Play05:57
• 3Symphony No. 5: Mvt 3. Hopes & Dreams12:19
• 4Symphony No. 5: Mvt 4. Life-Force04:30
• 5Symphony No. 5: Mvt 5. A Future07:37
• Total Runtime41:13

Info for Symphony No. 5 "Childhood"

Performed by the Christchurch Symphony Orchestra in the newly restored Christchurch Town Hall under the very sure baton of conductor and album producer, Kenneth Young, Symphony No. 5 “Childhood” is an optimistic work that uses childhood as a metaphor for renewed hope and optimism for the future.

Symphony No. 5 "Childhood" was recorded in the Christchurch Town Hall in June 2020, newly restored after the earthquakes of 2010 and 2011. I fondly recall attending the opening night of the Town Hall as a 12-year old in 1973, listening to my father, John Ritchie, conduct Beethoven’s Symphony No. 5.

Someone recently asked me how I define a symphony in 2020, and why do I write them. For me, writing a symphony is like painting on a large canvas: it is spacious and allows for a different sort of musical narrative. The way we listen to a long piece of music is very different to listening to a short piece; ideally, we become absorbed in the aural journey, forget the passing of time, and open the possibility of a deeper emotional engagement. There are other aspects of a symphony that I think are significant: its emphasis on organic growth, and cyclic events which echo Nature; its richly varied sound palette. But essential to it all is the ability to convey meaning and emotion through lengthy musical engagement. This is why I continue to compose symphonies. My fourth symphony grew out of the disastrous Christchurch earthquakes in 2010-11, and was a reflection on the nature of suffering. Composed between 2016-2018 and first performed by the Christchurch Symphony Orchestra to celebrate the re-opening of the earthquake-stricken Christchurch Town Hall, Symphony No. 5 “Childhood” is, by contrast, an optimistic work. Using childhood as a metaphor for renewed hope and optimism for the future, particularly in light of the Covid pandemic engulfing the world, the symphony is divided into five movements: ‘Beginnings’, Play’, ‘Hopes and Dreams’, ‘Life-force’ and ‘A future’.

The first movement evokes the first years of life, adopting the sound world of a music box. The first sound we hear is the ratchet, as the music box is wound up. The naivety of the main theme is contrasted by more adult thoughts in the second theme, played on solo oboe. An energetic middle section presents new ideas before fading back into the music box theme. The second movement is a scherzo titled ‘Play’ and evokes a child’s world of make-believe and acting out of stories. The word ‘play’ has many meanings: we play music, we perform plays, we just play. The music is rumbustious and changeable in rhythm, although the quiet second theme is more settled and folk music-like in character.

The third movement reflects on challenges faced in childhood and the fragility of our lives. A plaintive opening idea for woodwind is followed by a lyrical, expressive melody on horn, then violins. The delicate sounds of the glockenspiel and harp, prominent in the 1st movement, return again in the middle and gradually grow to a climax, before a quiet ending. The 4th and 5th movements are joined without a break as momentum is built to a rousing climax. This is uncomplicated, energetic and happy music, with motivic ideas intertwining together. It is inspired by the joy of seeing young people growing up and developing their potential, even in the face of considerable challenges.

The gentle music box theme from movement 1 is transformed at the start of the 5th movement into a blazing brass chorale. An open-air theme follows on the strings which is then played in counterpoint against the chorale melody. After the climax of the movement the music box theme returns, and we hear the sounds of childhood, kitchen pots included! It is a sonic signifier of childish imagination and pleasure at making music. We take our childhood with us through life.

Thanks to the University of Otago for supporting this project, the Christchurch Symphony Orchestra for performing the piece so beautifully, Ken for his excellent conducting and production skills, Graham, Sean and Steve for their wonderful ears, Robyn for the use of her beautiful watercolours, Gretchen for supporting the project, and the Visby International Composers Centre, Gotland, Sweden, for giving me the opportunity as Composer-in-Residence to compose a substantial amount of this symphony. (Anthony Ritchie, February 2021)

Christchurch Symphony Orchestra
Kenneth Young, conductor

Anthony Ritchie
has composed over 180 compositions during a career that includes a decade of freelance composing, several composer residencies, and 13 years teaching composition at Otago University. Many of his works have been published and recorded, and he has had works performed in many countries abroad, including the UK, Europe, Asia and the US. In 2014, his choral work Salaam was commissioned and premiered by Aquarius in Belgium, who have recently recorded a CD of his choral work. Anthony has had chamber music performed by The Takacs Quartet, The Eggner Trio, and The Yang Quartet, and The BBC Symphony Orchestra has recorded his A Bugle Will Do. His French Overture was performed by The Swedish Chamber Orchestra in 2012, while the CD A Bugle Will Do (Atoll, 2011) was named one of the “CDs of the year” by British reviewer Nick Barnard, on the Music Web International site. He has regularly had works performed overseas at ISCM and ACL festivals.

Anthony Ritchie completed a Ph.D. on the music of Bartok in 1987, studying at the Bartok Archives in Budapest. He also studied composition with Attila Bozay at the Liszt Academy, and completed his Mus.B (Honours) at the University of Canterbury. During this time his Concertino for Piano and Strings was recorded onto LP by Kiwi Pacific. In 1987 he was Composer-in-Schools in Christchurch, before moving to Dunedin as Mozart Fellow (1988-9) at the University of Otago. Anthony was Composer-in-Residence with the Dunedin Sinfonia in 1993-4, completing his Symphony No. 1 "Boum". He free-lanced until 2002, writing commissioned works for performers as diverse as the NZSO, Class Act Opera, and Daniel Belton and Good Company. In 2000 his Symphony No.2 was premiered by the Auckland Philharmonia Orchestra at the International Festival of the Arts, and was followed up by the comic opera Quartet at the 2004 Festival. Other operas include The God Boy (2004) and This Other Eden (2014), both premiered at Arts Festival Dunedin. Anthony has also composed film music in collaboration with Natural History NZ, including Southern Journeys (2000) and Timeless Land (2003).

Since 2005 he has had eleven CDs of his composition released, including the critically acclaimed Piano Preludes (Atoll, 2005), NZ Poets in Song featuring Anna Leese (Ode/Manu 2008), and the CD Remember Parihaka (Atoll, 2009) which includes his widely performed Flute Concerto, written for Alexa Still. His two CDs of chamber music include Octopus featuring his String Quartet No.2. An album of his piano music, Expressions, was released by Ode/Manu in 2010, performed by Tom McGrath. Atoll and the NZ Symphony Orchestra released his CD A Bugle Will Do in 2012, which included his Symphony No.3. It was awarded classical album of the year by The Listener, and was a finalist at the NZ Music Awards. Atoll released his Stations CD in 2014 (Symphony No.4 performed by The Christchurch Symphony Orchestra), and it was declared a ‘Recording of the Month’ by Web Music International. Reviewer Nick Barnard wrote: “I have been listening to this music over the last month during which time I have found myself increasingly drawn into its profoundly moving sound-world. . . The structure of the work is hugely impressive – the listener is drawn forward inexorably with each station clearly defined yet clearly part of a greater scheme. . . Ritchie’s music speaks with a very individual yet accessible voice and his work – and certainly this symphony – deserves a wide audience.” 'Fjarren: In the Distance' with Anthony’s Clarinet Quintet and Purakaunui at Dawn won ‘Best Classical Album’ in the 2016 NZ Music Awards. Recent commissions include an oratorio Gallipoli to the Somme (2016) commemorating World War I for The Dunedin Symphony Orchestra and City Choir Dunedin, which is scheduled for performances in London and Oxford in 2018.

Anthony is now Professor of composition at Otago University, and combines his interest in composition with a passion for teaching and mentoring young composers. In 2012-13 he was the Composer Mentor for the Todd Young Composer Awards. He also engages with the community through his role as a conductor (Dunedin Youth Orchestra), pre-concert speaker and arranger. In 2011 he was chosen to arrange the music for the 20 national anthems at the Rugby World Cup. Anthony combines his interest in music with an interest in sport, and has represented New Zealand at two croquet world championships.

This album contains no booklet.