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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.

  • Availability

Robin Toan  

Comic

Duration: 04' 00" Year: 2004
for chamber orchestra

Gary Daverne  

Fanfare and Procession

Duration: 03' 00" Year: 2002
for orchestra

Leonie Holmes  

Fanfare for Manukau

Duration: 03' 10" Year: 2008
for orchestra

  • Instrumentation
    3222,4231,Timp, 2perc, harp, strings
  • Programme Note

    This fanfare is dedicated to Sir Barry Curtis, with grateful thanks for his many years of support for the Manukau City Symphony Orchestra. The first thirty seconds refer back to the opening of The Journey, written for the opening concert at this Genesis Theatre, which has since become home for the orchestra. The piece then moves into a celebratory fanfare, with the opening melody reappearing and merging with the fanfare at the end.

    Spirit Breathe
    One into many
    In the hush the first hint of a breeze
    Slowly the rim of the world lightens
    Dull red blazing to white gold.

    From The Journey, Tessa Stephens

  • Availability

Ray Twomey  

General Glen (Opus 26)

Duration: 03' 00" Year: 2000
for concert band

Yvette Audain  

Mangatangi

Duration: 04' 00" Year: 2005
for orchestra

Yvette Audain  

Mozart-Beethoven Remix

Duration: 03' 45" Year: 2009
a 'remix' or medley of the main themes from the first movement of Mozart's Symphony no. 40, and the first movement of Beethoven's Symphony no. 5

Natalie Hunt  

Only to the Highest Mountain

Duration: 04' 55" Year: 2009
for full orchestra

Anthony Ritchie  

Procession

Duration: 03' 00" Year: 2007
for orchestra

  • Instrumentation
    2(1)22in A2; 423(1)1;timp; 2 perc (bass drum, crash cymbals, triangle, side drum) harp, pf, strings
  • Programme Note

    Procession was commissioned by the Manukau Symphony Orchestra, as part of the Composer-in-Residence position held by Anthony Ritchie. It was written for the orchestra’s April concert in 2008. The music was inspired by various street processions such as Santa parades or graduations and is buoyant in tone, with strong marching rhythms. A slightly quieter episode in the middle offers some contrast to the rumbustious outer sections.

  • Availability

Robin Toan  

Rainbows 'n' Roses

Duration: 04' 00" Year: 2005
for chamber orchestra