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• Daverne: Auckland March; computer-set 

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• Daverne: Auckland-March; computer-set 

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• Gary Daverne: Auckland-March 

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• Rimmer: Autumnal Alleluias; computer-set 

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• Rimmer: Autumnal Alleluias; computer set 

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• John Rimmer  Year: 2002 

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2 trumpets in C; Horn in F; tenor trombone; tuba

Ritchie’s Brass Quintet is dedicated to his father, John Ritchie, and was composed in 1992 for the Canterbury Quintet. Unfortunately this ensemble folded before the work could be performed, and consequently the composer had not heard the work prior to the recording by the NZ Chamber Brass. Ritchie notes that, at the time of composing the work, he was fascinated by the work of several Minimalist composers, this influence being most apparent in the first two movements.

• Ritchie A.: Brass Quintet; facsimile 

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• New Zealand Chamber Brass - New Zealand Works for Brass Quintet 

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Young’s Brass Quintet No. 1 was composed in 1980 to a commission from the New Zealand Symphony Orchestra and the New Zealand Brass Quintet. It was first performed (with Young himself playing tuba) in Wanganui and Wellington as part of the first half of an NZSO programme which included Stravinsky’s Petrouchka. The following year the work was recorded by the Quintet for the Kiwi Pacific label, along with John Ritchie’s Partita and Douglas Lilburn’s Quartet for Brass.

In writing this Quintet, Young wanted to composed a more substantial work than was common in the brass quintet repertoire of the time; consequently, it has an almost symphonic breadth.

• New Zealand Chamber Brass - New Zealand Works for Brass Quintet 

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• New Zealand Brass Quintet  Year: 1983 

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• Harris: Bremner Aria; computer-set 

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• Harris: Bremner Aria; computer-set 

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• Brass Aotearoa  Year: 2003 

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soprano cornet, solo cornets, cornets 1,2, repiano, flugel horn, solo horn, horns 1,2, baritones 1,2, trombones 1,2, bass trombone, euphoniums, E flat bass, B flat bass, timpani, 2-3 percussion, solo trombone

The starting point for this piece was some dramatic cloud formations I experienced while in Morrinsville, near Hamilton. It was a brilliant sunny day, with occasional huge and interestingly shaped clouds floating past. They provided inspiration for the opening texture for my piece Clouds, which is flowing and slowly unfolding in character.

Clouds can assume many different shapes and characters and this is reflected in my piece. There are stormy ideas with strong rhythms, jagged ideas built from small motifs, mysterious ideas that suggest darker clouds, bright climaxes that suggest the sun bursting through.

The solo trombone is like a small aeroplane, weaving its way through the clouds and enjoying a rather turbulent journey. Its part is soloistic but integrated into the band texture and often underpinned by the percussion, who have an important role in sustaining the momentum of the piece. Near the end the soloist has a brief cadenza before the music rises to a rumbling climax. This passage finally disintegrates, as the clouds disperse.

Anthony Ritchie

• Ritchie, A.: Clouds, op.114; computer-set 

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• Ritchie, A.: Clouds, op.114; computer-set 

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• GUNG-HO - Virtuoso Works for Trombone - David Bremner  Year: 2009 

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• Biddington: Concetto; computer set 

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• Biddington: Two Pieces for French Horn and Piano (Concetto) 

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• Biddington: Cantilena  Year: 2005 

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for 2 trumpet, horn, trombone, and tuba

The Florentine Camerata was a group of musicians and literati of the late sixteenth century that gathered to discuss the changing musical practices of the day, and saw the development of Baroque monodic vocal style and the first opera, Euridice. The Camerata would engage in fierce debates about dissonance and counterpoint, and helped usher in a new era that strived to capture the emotion of the tdxt in the music. During this period, music that included brass instruments was widely performed. Impressions of the Florentine Camerata, brass music, and Baroque ornamentation and dissonance were the inspiration for this piece: a madrigal, a recitative, and a quirky tango.

Maria Grenfell

• New Zealand Chamber Brass - New Zealand Works for Brass Quintet 

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E flat sop crnt, 4 solo B flat crnts, repiano crnt in B flat, 2nd & 3rd B flat crnts, B flat flugel hn, solo E flat hn, 1st & 2nd E flat hns, 1st & 2nd B flat baritones, Euphonium in B flat (2), 1st & 2nd B flat trbn, bass trbn, E flat Bass (2), B flat Bass (2), 3 perc, timp, bass drm, side drm, tenor drm, tamtam, clash cymb, susp cymb.

Down in the Brunner Mine was commissioned by The Onslow Brass Band in Wellington and first performed and broadcast in 1996. It is a short set of variations based on a New Zealand folk song called ‘Down in the Brunner Mine’. The folk song describes the coal mine on the West Coast, near Greymouth, and tells of the disaster that occured there in the 1890s when about 60 men were killed in a mine collapse. Here is the first stanza: We worked in the heat and the thick black dust, Sticks to your skin like a burnt pie crust, We rue each day the miner must Go down in the Brunner Mine. The folksong tune is announced by the cornets at the beginning, playing in their low register, accompanied by heavy chords in the low brass. Variation 1 features a horn solo, and the cornets return for Variation 2, playing in fourths. Variations 3 and 4 are strident in character and feature short flourishes. The snare drum enters at the start of Variation 5 and the cornets play a punchy idea using repeated notes. This idea returns in contrapuntal form in Variation 7, while the 6th variation inbetween features little fragments of the theme on various instruments. Variation 8 is powerful and buffeting, and uses the theme in canon. Variations 9-11 make use of the theme’s arpeggio outline and the music builds to a climax. Following this, the music gradually winds down in Variation 12, with the theme appearing in inversion against a repeated bass pattern. After a reflective silence, the short chorale-like coda rounds off the work, and is marked “in memoriam”.

• Ritchie, A.: Down in the Brunner Mine; computer set 

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• Ritchie A.: Down in the Brunner Mine; facsimile 

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• New Zealand Music for Creative Dance (Volume Two) 

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• Woolston Brass: Millennium  Year: 1998 

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This work for trumpet and tape delay system was written in memory of the the composer’s father. It uses stereo delay to create an impression of space and distance.

• Harris: Echo; facsimile 

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• Grant Cooper and Concord Brass: Points in a Changing Circle 

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• Hamilton/Harris/Blake/Pruden: Nix Olympica and other works  Year: 1989 

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• Hamilton/Harris/Blake/Pruden  Year: 1989 

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