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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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• McKenzie: Alice in Wonderland - a ballet suite; computer-set 

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• McKenzie: Alice in Wonderland; computer-set 

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• Music by Lachlan McKenzie 

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• Morgan: Armannai; computer set 

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Written in response to Bartok’s ‘44 Violin Duos’(1931) which were based on traditional East European melodies. Bartok was concerned that such tunes would become extinct and wanted to preserve them. ‘Birds Reply’ is also intended as an educational resource although the pieces are original compositions with Celtic, English, Balkan and Klezmer influences. On this recording Chris Prosser plays both violin parts.

• Prosser: Birds Reply to Bartok; computer-set 

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• Prosser: Birds Reply to Bartok: 44 Violin Duos; computer-set 

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• Accordatura Violin - Chris Prosser 

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• Prosser: Birds Reply to Bartok - 44 Violin Duos  Year: 2003 

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This short setting of a traditional Afro-American spiritual text was written for Opus at Epsom Girls’ Grammar School (Auckland) in 2003. It makes use of the ‘call and response’ technique of early spirituals, and uses typical harmonic and melodic ideas. The meaning of these texts was most often covert. Therefore, only Christian slaves understood them, and even when ordinary words were used, they reflected personal relationship between the slave singer and God.

• Hamilton: Bound for Canaan Land; computer-set 

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• Hamilton: Bound for Canaan Land; computer-set 

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• David Hamilton: Bound for Canaan Land; audio 

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• The Treble Voice Choral Music of David Hamilton Vol. 2 

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An energetic theatrical work for comic relief and rhythmical play.

• Cowan: Bus Stop; computer set 

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• Cowan: Bus Stop; computer set 

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• Claire Cowan's 'Bus Stop' - on the street 

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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.

• Goss: Cadenza to the 3rd Brandenburg Concerto of J.S. Bach; computer-set 

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

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• Thomas Goss: Cadenza to the 3rd Brandenburg Concerto of J.S. Bach 

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• Childs, D.N.: Cantate Domino, Benedicamus Domino; computer set 

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• Lynch: Chasing Seagulls; computer set 

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• Showin' Off!, Chasing Seagulls 

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One evening driving south along the Kapiti coast I was captivated by the sun setting into the sea which turned an oily steel blue while an early moon appeared above me. The gradual fading of light created sharp shadows in the hills while at the same time the western sky turned salmon and was ornamented with a few wispy clouds. The gum trees at Mackay’s crossing were lit up like flames. I wrote the words as I drove… The piece is an art song for SATB quartet or chamber choir.

• Russell: Coastal Sunset; computer set 

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• Russell: Coastal Sunset; computer set 

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