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3 (alto fl.),3 (c.a.),3 (Bass cl., E flat),3(cbn); 4331; timp., 3 perc., hp; electro-acoustic sounds (CD); strings

• Cree Brown: Celestial Bodies; computer-set 

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• Cree Brown: Celestial Bodies 

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• Elmsly: Cello Symphony; facsimile 

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• Auckland Philharmonia: New Zealand Music 2  Year: 1990 

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• Burch: Concertino; facsimile 

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• Burch: Concertino; facsimile 

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• Robert Burch: Concertino; audio 

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212(both dbl bass cl.)2; 2210; timp., celeste, harp; solo alto saxophone; strings

The Concerto was written in January 2006 as fulfilment of a long standing promise to write a piece for saxophonist Simon Brew. What began, in concept, as a modest “concertino” grew into a five movement “grand” concerto of nearly 30 minutes, which makes it, according to Simon, one of the longer concertos in the Alto Saxophone repertoire; I’m still not quite sure how it happened, it just kept on growing.

The Concerto was commissioned by the Wellington Youth Sinfonietta, is dedicated to Simon, and was premiered in May 2006. The first two movements, including some revisions, were later presented at the NZSO-SOUNZ Readings on 6 November 2006.

The first movement is an accompanied cadenza for the saxophone which outlines the major thematic material for the concerto. This movement reoccurs, in modified form, as the central episode of the last movement. The second movement is in traditional concerto sonata form. The Concerto unashamedly follows classical structures throughout. Avant-garde it ain’t!

• Vinten: Saxophone Concerto; computer-set 

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• Vinten: Saxophone Concerto; computer-set 

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• Vinten: Saxophone Concerto; computer-set 

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• Michael Vinten: Saxophone Concerto 

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Soloists: trumpet in E flat; clarinet in A Orchestra: 2+1,2+1, 1+Cl+1, 2+1; 4, Cl+2, 2+1,1; harp, piano doubling celesta, timpani, 4 percussion and strings (12,12,10, Cl+8,6)

• Bolley: Concerto for orchestra; facsimile 

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• Bolley: Concerto for orchestra; facsimile 

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Orchestra: 3333; 4331; timp; 3perc; hp; strs. Some soloists within orchestra supplement the quartet.

This work commissioned by the City of Aberdeen is in one continuous movement comprising eleven sections. The orchestra has 3 roles – to accompany, to assist the quartet and to supply much of the musical argument – it is of equal importance to the quartet. At its first performance, this work was described as “astoundingly successful”.

• Cresswell: Concerto for Orchestra and String Quartet; computer set 

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• New Zealand New Music in Scotland 

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• Ryan: Concerto for tuba and orchestra; computer-set 

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• Ryan: Concerto for tuba and orchestra; computer-set 

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percussion: timp, bass drum, snare drum, gong, small perc.

• Powell: Concerto; computer-set 

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• Powell: Concerto for 2 Violins & Percussion; computer set 

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2222; 4331; timp; 2 perc.; strings

In 3 movements, this work was reviewed as follows, “There are proper tunes, there are pattems that can be traced, brass and percussion in abundance, and rhythms that dance light off the stage at you.” Christchurch Press 11-95. This work was commissioned and premiered by the Christchurch Symphony Orchestra.

• Norman: Concerto; computer-set 

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• Orchestra Works: Body and Norman 

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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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