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David Hamilton  

A Blessing for this Day

Duration: 02' 00" Year: 2009
for two-part treble voices and piano

Eric Biddington  

A New Zealand Fable

Duration: 03' 00" Year: 2007
a short movement for flute and piano

Mark Smythe  

A Solis Ortus

Duration: 04' 00" Year: 2005
for chamber vocal ensemble

Alex van den Broek  

After Lilburn

Duration: 04' 00" Year: 2009
flute, two B flat clarinet, B flat Bass clarinet, bassoon, percussion (cymbal), B flat trumpet, cello, bass

Kass Finlay McAuliffe  

Alone on a Hilltop

Duration: 04' 00" Year: 2004
for piano

Pepe Becker  

Aquarius II

Duration: 01' 45" Year: 2008
for piano

  • Programme Note

    Although the work was not commissioned, it was indirectly ‘requested’ by Ross Carey, who performed Aquarius I in a New Zealand Piano Music concert on 30 March 2008. Aquarius I was written for, and premiered by, Anita van Dijk in 2000, and there was a note at the end of it saying that “Aquarius II may emerge at a later date” – it was in response to Ross’ enquiry about this that I was spurred to write Aquarius II. Both works are dedicated to Anita van Dijk, upon whose birthday numbers they are based.

    Aquarius II is the sequel to Aquarius I.

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Christopher Prosser  

Bouncer

Duration: 00' 55" Year: 2004
a short tune for violin and guitar

Christopher Prosser  

Brightest Day

Duration: 01' 05" Year: 2001
for violin

Thomas Goss  

Cadenza to the 3rd Brandenburg Concerto of J.S. Bach

Duration: 03' 45" Year: 2003
solo harpsichord (as part of a performance with string orchestra), to be inserted between the 1st and 2nd movements

  • Programme Note

    This cadenza represents part of an attempt to reestablish some of the bravura tradition of the late Baroque, so easily passed over in modern interpretations of the period’s music. A case in point is the 3rd Brandenburg Concerto, which supplies a simple cadence as a stepping-stone between its two movements. On nearly every recording of this piece, one will hear the reverential yet unimaginative error of playing the score exactly as written, with two blunt chords executed with the utmost seriousness, then leading directly on into the next movement. Yet what is called for in style of the period (if not the score itself) is an extended improvisation by the continuo player, more than the few feeble arpeggios that are often heard.

    Goss’s cadenza melds some of the muscular, intellectual style of J.S. Bach with other influences from the period, including Frescobaldi, Scarlatti, and a touch of Couperin, blended together with a sensibility and flair borrowed from the approach of Bach’s son Karl Phillip Emmanuel. The overall effect is to evoke the younger Bach in a mischievous mood, alternately eliciting groans and intrigued sighs from an attentive father as the themes of the concerto are whimsically run through a series of transformational episodes. These are in essence private jokes, referring to some of the works like the Well-Tempered Clavier upon which the Bach boys cut their virtuosic teeth.

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Mike Nock  

Cloudless Blue

Duration: 03' 20" Year: 2005
for piano