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This piano suite contains five pieces describing the local scenery and legends of Achill Island in Ireland.

• Parker: Achill Suite; computer-set 

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• Parker: Achill Suite and Other Works  Year: 2003 

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These pieces were originally piano duets, written with one easy part for my wife to play, and presented to her on various anniversary occasions in the 1960s. This orchestral suite was arranged for the 1965 Cambridge Summer Music School, and first performed there by the school’s orchestra. The translation from piano to orchestral sounds makes many opportunities for variety of colours and for real sostenuto. But while orchestral sound is bound to be very different, I have attempted in the Trio of the Mexicana to capture something of the effect of the piano’s harmonic resonance to provide sustaining echoes of the oboe’s tune.

• Farquhar: Anniversary Suite No. 2; facsimile 

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• Farquhar: Anniversary Suite No. 2; facsimile 

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• Farquhar: Anniversary Suite No. 2; facsimile 

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• Farquhar: Anniversary Suite No. 2; facsimile 

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• David Farquhar: Auras  Year: 1997 

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• Parker: Concertino No. 2; computer set 

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• Parker: Concertino No. 2; computer-set 

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• Brent Parker: Concertino no. 1 and no. 2 

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• Brent Parker: Credo, Guitar Concertinos, En France 

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• Brent Parker: Guitar Music from Ireland and Spain 

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Flute Concerto No. 1 was written during 1987 for The Nova String of Wellington and their flute soloist, Karen Batten. This group gave the first public performance of this concerto at The Laings Road Methodist Church, Lower Hutt, during July 1988.

• Biddington: Concerto for flute and string orchestra; facsimile 

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• Biddington: Concerto for flute & string orchestra; facsimile 

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• Eric Biddington - Flute Concerto No.1 

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• Biddington: Flutes Concertos and Chamber Music  Year: 2001 

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• Eric Biddington: Rendez-vous  Year: 2007 

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• Biddington: Concertos for Flute, Clarinet, Oboe, Viola and 2 Concerto Movements  Year: 2010 

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• Biddington: Concerto for Viola and Orchestra; computer-set 

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• Viola Concerto by Eric Biddington 

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• Eric Biddington - A Piece for Maurice 

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• Eric Biddington - Concerto for Viola and String Orchestra 

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• Eric Biddington: Rendez-vous  Year: 2007 

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• Biddington: Concertos for Flute, Clarinet, Oboe, Viola and 2 Concerto Movements  Year: 2010 

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Violin Concerto in F takes its themes and forms from folk song and dance music of old Europe. The first movement is an extended recasting of the classic Scottish Ballad _Wild Mountain Thyme". After an extended introduction that states the melody of the ballad, the music accelerates and tightens into a jig. Throughout the piece, tension is maintained between the free-flowing natural melody and the choreographic energy of 6/8 time, even during the long cadenza. A brief episode from the ensemble brings the music back to the mood of the opening before finishing on a high, unexpected chord.

The second movement, entitled Reverence, is a synthesis of Balkan choral rhythms and melodies, with shifting bars of 7/8, 3/8, and 5/8. The solo part teams up with principal first and second violin soloists in central episodes reminiscent of choral drone singing of Bulgaria and Macedonia. The title refers to the respect a ballet class shows to their pianist at the end of their time together, and in a greater way the honor we show to those who help to bring our lives meaning.

Brawl, the title of the first movement, refers not to a fistfight but a round dance of the Renaissance that was popular in England and France in which participants play “follow the leader.” This dance may be the ancient ancestor of hoedown music, to which it bears a strong resemblance. The opening violin solo is derived from a tune of the great French lutenist Robert Ballard, and is answered by a raucous, offbeat countermelody in the strings. The scope of the rhythmic jousting touches on many disparate styles, including spy movie music and a trace of heavy metal before returning to the reel-and-drone of the beginning.

• Goss: Concerto in F; computer-set 

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• Goss: Concerto in F; computer-set 

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• Thomas Goss: Concerto in F 

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This suite of short dances were written for the composer’s visit to Dunedin and it was recorded in a short session on the last day of visit.

• Chris Prosser - Dance Suite 

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Greenstone Sinfonia is a sinfonia concertante in the classical sense, a multi-movement work in which several soloists work together with the orchestra to make a concerted whole. It differs from a concerto grosso in that its solo parts are more individual, tending to play off, rather than into, the fabric of the orchestra.

While the music in this piece is in the style of the composer, the name and mood of each movement is derived from the pounamu talismans of New Zealand. Carved by Maori craftsmen in greenstone jade (and sometimes bone), these highly prized objects were not only worn as jewelry: they helped to convey a sense of status and attitude towards life. The different shapes symbolized the relationship of the Maori to nature, their ancestors, and the spirit world.

A Patu is a war club: as a greenstone it represents facing and overcoming life’s challenges. The first violin soloist introduces a lilting, expectant theme, building as the other instruments join in a song of greeting. A trade-off of solo statements leads to a haka, a slapping, chanting Maori cry of defiance and readiness for battle.

The highly ornate symbol of Hei matau was used as a charm for safe journey over water, and represents the hook used by Maui to catch the mighty fish that became the North Island of New Zealand. This movement is a peaceful contrast to the first in its lazy rocking meter and billowing phrases.

Manaia is a spirit that protects and provides for an iwi, or tribe, portrayed in profile as part-way between the worlds of spirit and flesh. The music is spirited and bird-like, fluttering and dancing from quartet to orchestra with the viola as the bridging instrument.

The ‘cello takes over in the last movement, Koru, named for the spiraling twist of the native fern frond. Paying tribute to that emblem of unfolding nature, melodies unwind with slow, deliberate calm, layering one on another through a simple, hymn-like chord progression into a joyous ode to life.

• Goss: Greenstone Sinfonia; computer-set 

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• Goss: Greenstone Sinfonia; computer-set 

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• Thomas Goss: Greenstone Sinfonia 

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• Twomey: Works by Ray Twomey; computer-set 

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• Twomey: Harp-The Herald Angels Play! (Opus 31); computer-set 

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• Twomey: Harp-The Herald Angels Play! (Opus 31); computer-set 

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• Twomey: Ray Twomey  

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