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Orchestra:(1)2,2,2(1),2(1); 4331; timp., perc. (3), hp; strings. (Percussion: small and large suspended cymbals, tam tam, glockenspiel, vibraphone, xylophone, tubular bells, snare drum, 2 bongos, 3 tom toms, bass drum.)
Brass Band: sop cornet, solo cornet, 1st cornet, 2nd cornet, 3rd cornet, flugelhorn, tenor horn, baritone, tenor trombone, bass trombone, E flat euphonium, E flat bass, B flat bass

In composing this concerto I recognise two contrasting musical cultures within the European artistic tradition. The Brass Band represents what I call a ‘closed’ musical system portrayed by its standardised instrumentation heard to great effect in its stirring marches, sonorous hymn playing, contest pieces and arrangements of popular and show music, while the orchestra with its dazzling array of many instrumental colours, its flexible instrumentation and its potential for pushing musical boundaries, represents an ‘open’ musical system. I wanted also to exploit the virtuosic capacity of the brass band as a concerto soloist and to celebrate through this work the unity and solidarity amongst brass musicians.

Europa is a one movement work in five main sections which alternate slow atmospheric music with a fast and rhythmic style. The latter is heard in the many rapid passages which switch from band to orchestra and vice versa. Notable also is the relationship between the band and the orchestra particularly in the cadenzas for the brass band followed by the orchestral brass.

I was spurred into composing this work after reading about Europa, one of the large moons of the planet Jupiter first seen by Galileo in 1610 and named after a goddess of Greek mythology. Such thoughts were instrumental in generating my first musical ideas, for instance the name ‘Europa’ is represented by a six note melody heard throughout the work. However, my initial thoughts about Europa receded as I explored and developed the musical material. ‘Europa’ was commissioned by the Auckland Philharmonia. The work was first performed by the Dalewool Auckland Brass and the Auckland Philharmonia conducted by Miguel Harth-Bedoya on 13 June 2002 in the Auckland Town Hall.

• Rimmer: Europa; computer-set 

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• Rimmer: Europa; computer-set 

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• Rimmer: Europa; computer-set 

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• Rimmer: Europa (Brass Band score); computer-set 

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• Rimmer: Europa; computer-set 

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• Rimmer: Europa (brass band score); computer-set 

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• John Rimmer: Europa; audio 

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• John Rimmer  Year: 2002 

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• John Rimmer: Europa  Year: 2002 

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solo flute; 022(bass)2; 2200; perc.; strings

Maui Tikitiki a Taranga (“Maui formed in the topknot of Taranga”) was a demi-god found in the tribal myths of the Māori people of New Zealand.

Maui, the fifth and youngest child, was born at the edge of the sea. His mother, Taranga, thought he was stillborn, and wrapped him in a tuft of her hair and set him adrift. He was cared for by the seaweed until a breeze blew him ashore, where he was saved and brought up by one of his great-ancestors.

Maui was a great prankster. In one of his mischievous moods he decided to put out all the fires in the world. To bring fire back, he had to find Mahuika, the goddess of fire. He was awestruck upon meeting her, but decided to play a trick on her by taking fire from her fingernails one at a time, until she realised his game and threw fire to the ground, catching everything alight. Maui changed himself into a hawk to escape the flames, which singed his feathers. He called upon his ancestor to send rain and drench the fire, depriving Mahuika of her powers.

Maui decided to defeat death by journeying to where the earth meets the sky, where lived his great-ancestress Hine nui te po (“Great Hine the Night”). He was accompanied by many birds, and told them his plan to enter the body of the sleeping Hine and so defeat death. The birds sat quietly trying not to laugh as Maui, in the form of a caterpillar, crawled towards Hine. Suddenly the fantail could be quiet no longer and laughed aloud, dancing about with delight. Hine awoke with a start, realised Maui’s trickery, and he was killed.

• Maria Grenfell: Maui Tikitiki a Taranga - hardcopy score 

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• Maria Grenfell: Maui Tikitiki a Taranga - downloadable PDF 

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• Maria Grenfell: Maui tikitiki a Taranga; audio 

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• Grenfell: Four Works 

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• Norman/Grenfell/MacKenzie; cassette 

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flute, B flat clarinet, percussion, timpani, piano, strings; Characters: Miss Brill, middle-aged couple, young couple: 2 sopranos; 1 mezzo; 2 baritones (one is high baritone/low tenor); 2 non-singing roles

• Buchanan: The Mansfield Stories; computer-set 

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• Buchanan: Miss Brill; computer-set 

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• Buchanan: Miss Brill; computer-set 

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• Dorothy Buchanan: Two Operas 

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• Dorothy Buchanan: The Mansfield Stories 

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• Dorothy Buchanan: It Began with a Pony  Year: 1998 

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vlns I and II; vlas; cellos; basses

The titles of the five movements give the outline of a Serenade in the most literal and traditional meaning of the word. The Flourish aims to capture the lady’s attention; through the Romance, Dance, and Aria the suitor presses his cause, and in the Finale the couple celebrate a successful outcome. I wouldn’t, however, suggest that this story line be taken too literally! The music, I hope, speaks for itself. The Aria gives the double-bass a chance to shine as a soloist, and the Finale refers back to earlier material, then skips for joy, and finally relaxes into a tranquil ‘apotheosis’. This Serenade was commissioned by Denis and Verna Adam to celebrate their fortieth wedding anniversary. The first performance was given by the NZ Chamber Orchestra in September 1993.

• Farquhar: Serenade for Strings; facsimile 

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• Farquhar: Serenade for Strings; facsimile 

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• Farquhar: Serenade for Strings; facsimile 

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• David Farquhar: Auras  Year: 1997 

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These works (Sinfonia Opus 11a and String Quartet Opus 11b) are two versions of the same composition, and are a musical autobiography. Ray was born in England and lived through seven years of destruction, spending many nights in air raid shelters listening to the sounds of total war. An air raid, with its sirens, the drone of bombers, bombs dropping and anti-aircraft fire can be heard in the first movement. The main theme, which occurs soon after the opening, reappears inverted after the air raid – symbolic of the utter chaos prevelant at that time. However, like the Phoenix rising from the ashes, the theme not only corrects itself but changes from minor to major modality near the end. The second movement represents New Zealand with its bitter-sweet memories for the composer. New Zealand is a beautiful country. The humerous third movement, called “England again” is scored pizzicato throughout, and leads to the final movement “Canada” – big Canada, magnificent Canada, vast Canada, noble Canada, free Canada, beautiful Canada…. the huge but simple harmonies near the end are Ray’s interpretation of the optimism he feels for the country.

• Twomey: Sinfonia (Opus 11a); computer-set 

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• Twomey: sinfonia; computer-set 

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• Twomey: Sinfonia (Opus 11a); computer-set 

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• Twomey: Sinfonia (Opus 11a); computer-set 

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• Reflections - Music Composed by Ray Twomey 

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• Ray Twomey: From the Garden of Eden 

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• Ray Twomey: Sinfonia  Year: 2001 

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picc2222contra 4 331 Tp Perc(2) Str

At age 15, during school holidays, I hitch-hiked the length of New Zealand from Dunedin to Auckland with various side trips in between. The sheer beauty and panorama of rolling hills, lofty mountains and shimmering sea entered my soul and stayed there. Sleeping rough in the great openness somehow connected me to the natural wonders that were all around me and this connection became ingrained and part of my being.
The composing of my first symphony allowed me to relive that life changing experience and the work recalls impressions and emotions that I felt at the time, but not specific places.
-Denis Betro

• Betro: Symphony No.1; computer set 

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2222; 2221; timp., perc (2), hp; strings and narrator

Commissioned in 1985 by the Wellington Regional Orchestra (now the Vector Wellington Orchestra) for a family concert under Sir William Southgate, as part of the 1986 New Zealand International Festival of the Arts in Wellington, The Emperor and the Nightingale has subsequently been performed by a number of New Zealand regional and youth orchestras.

• McLeod: The Emperor and the Nightingale; computer-set 

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• McLeod: The Emperor and the Nightingale; computer-set 

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• McLeod: The Emperor and the Nightingale; computer-set 

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• McLeod: The Emperor and the Nightingale; computer-set 

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• Jenny McLeod: The Emperor and the Nightingale 

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tenor, baritone, mezzo, soprano soloists; Flute (piccolo), B flat clarinet (alto saxophone); percussion, piano; violins (2), viola, cello, double bass

• Buchanan: The Mansfield Stories; computer-set 

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• Buchanan: The Woman at the Store; computer-set 

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• Buchanan Dadson Fisher: works 

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• Dorothy Buchanan: It Began with a Pony  Year: 1998 

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solo viola, orchestra: 22*2*2*, 2 horns in F, timpani and strings

• Keay: Viola Concerto; computer-set 

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• Keay: Viola Concerto; computer set 

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• Keay: Viola Concerto; computer set 

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• Keay: Viola Concerto; computer set  

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• Keay: Viola Concerto; computer set 

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• Keay: Viola Concerto (viola part); computer-set 

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• Nigel Keay: Viola Concerto; audio 

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• Nigel Keay: Viola Concerto - First Movement; audio 

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• Nigel Keay: Viola Concerto - Third Movement; audio 

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• Nigel Keay: Viola Concerto - Second Movement; audio 

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• Keay: Viola Concerto 

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