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A Country Suite depicts memories of a drive through the Canterbury countryside in the Model T Ford before proposing marriage to Eileen Decima Hughson – his future wife.

• Dickson: A Country Suite; computer set 

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• Dickson: A Country Suite (Opus 13); computer set 

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• Dickson: A Country Suite 

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A Village Wedding combines two different conceptual approaches; that of the program piece wherein images or activity is described by music; and that of the concerto grosso, a Baroque form which both collectively and individually showcases the players of an ensemble. In the latter case, the piece would seem to fulfill many if not all of the 18th-century requirements. After an overture, movements based on dance rhythms ensue, including the Pavane, March, Gigue, and Rigadoon. Yet the material is cast in a mold that is necessarily programmatic. The Overture, with its opening solemnity, birdsong trills, and developing energy, is intended to describe the bright Sunday morning of a country village, along with the excitement and bustle of wedding preparations. The _Meditation_’s searching cadenza and pensive sweetness exhorts the attendants to send out their blessings to the bride and groom, while the Processional calls the wedding party to the altar. The Dance at the end paints a fiddler’s paradise of flying knees and elbows to jigs and reels as the whole village joins in the revelry.

The piece is dedicated to the composer’s fiancée Erica, and acknowledges with gratitude and appreciation the dedication and excellence of the members of the YPCO.

• Goss: A Village Wedding; computer-set 

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• Goss: A Village Wedding; computer-set 

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• Goss: A Village Wedding; computer-set 

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• Thomas Goss: A Village Wedding 

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This work is an hommage to the piano-four hand waltzes and hungarian rhapsodies of Johannes Brahms (with tougue firmly in cheek, comme d’habitude).

• Davidson: After Brahms; computer-set 

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• Davidson: After Brahms; computer-set 

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• Davidson - After Brahms 

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• Matthew Davidson: After Brahms 

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• Ker: and the rain...; facsimile 

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• Ker: and the rain...; facsimile 

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• Small: Black Cat; computer-set 

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• Powell: Dies Irae; computer set 

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This musical analogy to the physical phenomenon of light breaking up is written in a pointillistic style, with sinuous melodic fragments leaping across the piano keyboard in jagged cross-rhythmic dancing. Angular counter- melodies are provided by a chamber orchestra of single winds and brass with 14 strings in this single movement.

The idea of diffractions is represented in sound by the piano, central and prominent, exploiting an aspect of its technique to which it is ideally suited: rapid changes of direction and wide intervallic leaps with extreme dynamics. The orchestra provides bands of coloured spectra forming an integrated texture. The melody, oscillating and colourful is sometimes pointillistic and at other times it flows into longer continuous phrases.

Diffractions is essentially an abstract work in one continuous movement.

• Keay: Diffractions; facsimile 

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• Keay: Diffractions; facsimile 

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• Music by Nigel Keay 

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• Nigel Keay - Various Works 

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Composed in March 1992 and dedicated to the memory of Gavin Saunders. The first two movements comprise simple canons at the unison, with interludes, while the third is a chorale. Commissioned by Gary Bowler with funding from Creative New Zealand for the Hastings Youth Orchestra, who gave the first performance later that year.

• Carey: Dirge Canons; facsimile 

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• Carey: Dirge Canons; facsimile 

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• Carey: Dirge Canons; facsimile 

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• Music of the Americas and the Antipodes 

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• Ritchie A.: Dogwobble and other songs; facsimile 

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• Ritchie A.: Dogwobble and other songs; facsimile 

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Hammerheads is a double piano duet. It was composed in 2008 for four talented young Nelsonian pianists, Emily Deans, Jennie Verstappen, Natasha Ironside and Holly Tippler who played the piece several times during the year. These pianists are students of acclaimed teacher Mary Ayre who commissioned Hammerheads with funding from Creative New Zealand.

The work is in 5 sections contrasting slow with fast music and draws some of its pitch material from one chord in Stravinsky’s The Rite of Spring.

Hammerheads presents ensemble challenges for the performers with tricky rhythmic patterns in the fast sections. Its harmonic language is based primarily on a six-note descending scale heard in the opening bars.

• Rimmer: Hammerheads; computer-set 

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• Rimmer: Hammerheads; computer-set 

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• Rimmer: Hammerheads; computer-set 

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• Rimmer: Hammerheads; computer-set 

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• John Rimmer: Hammerheads 

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