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This composition is based on the first Kyrie Eleison, Christe Eleison from the Kyrie from Missa ‘Lux et Origo’

• Perkins: Brass Quintet 'Lux et Origo'; facsimile 

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Young’s Brass Quintet No. 1 was composed in 1980 to a commission from the New Zealand Symphony Orchestra and the New Zealand Brass Quintet. It was first performed (with Young himself playing tuba) in Wanganui and Wellington as part of the first half of an NZSO programme which included Stravinsky’s Petrouchka. The following year the work was recorded by the Quintet for the Kiwi Pacific label, along with John Ritchie’s Partita and Douglas Lilburn’s Quartet for Brass.

In writing this Quintet, Young wanted to composed a more substantial work than was common in the brass quintet repertoire of the time; consequently, it has an almost symphonic breadth.

• New Zealand Chamber Brass - New Zealand Works for Brass Quintet 

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• New Zealand Brass Quintet  Year: 1983 

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1. Fantasia – an textural exploration of a lively melodic theme
2. Ballad – a flowing melody accompanied by scrunchy chords and gentle rhythms
3. Tango – fragments of melodic and rhythmic material are explored and gradually fuse together to create a syncopated melody with simple accompaniment
4. Frenzy – a solemn introduction based on the theme from Fantasia is followed by a rollicking romp through a variety of time signatures.

• Camm: Four Pieces for Brass Quintet; computer set 

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• Camm: Four Pieces for Brass Quintet; computer-set 

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• Camm: Four Pieces for Brass Quintet; computer-set 

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Gestauqua was composed in February and March 1989, for Concord Brass Quintet, then resident at SUNY Fredonia and directed by Grant Cooper

• Elmsly: Gestauqua; facsimile 

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• Elmsly: Gestauqua; electroacoustic part 

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• Elmsly: Gestauqua; facsimile 

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• Elmsly: Gestauqua; facsimile 

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• Grant Cooper and Concord Brass: Points in a Changing Circle 

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The Chorale melody was written by Stravinsky in 1952, as a theme for organ improvisation by Marcel Dupre. I am grateful to Robert Craft and the Stravinsky Estate for permission to use it here. Stravinsky’s melody is played by the first trumpet in each of the three chorale settings. All three are canonic in treatment, with the texture increasing from two parts in Chorale 1 to four parts (plus a tuba bass-line) in Chorale 3. The two Interludes take off from the finale notes of the chorale. In contrast both are quick, with a somewhat Stravinskian rhythmic exhuberance; Interlude 1 is scored for a trio (excluding the two trumpets), Interlude 2 for the full quintet.

• Farquhar: Homage to Stravinsky; facsimile 

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• Farquhar: Homage to Stravinsky; facsimile 

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• Farquhar: Homage to Stravinsky; facsimile 

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• David Farquhar: Auras  Year: 1997 

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• Sound Barrier  Year: 2006 

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• Rimmer: Sonata a 5; facsimile 

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• Rimmer: Sonata a 5; facsimile 

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• Rimmer: Sonata a 5; facsimile 

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• Grant Cooper and Concord Brass: Points in a Changing Circle 

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• Schulz: Swinging Take 6; facsimile 

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• Schulz: Swinging Take 6; facsimile 

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