400 Roncesvalles Avenue is the address of the Revue Cinema, a historic movie-house in a historic area of Toronto, Canada. The way to approach the theatre from downtown is to take the subway eastbound to Dundas West station and from there to take a streetcar to the theatre. These are depicted at the beginning, in the middle and at the end of the piece. The third and fourth section of this work also quote fairly extensively from the Adagio movement of Bruckner’s 8th symphony. The reason for this is that it was while I was resident in Toronto that I became familiar with and recognised the genius of this composer. I regret to say that I have no recollections of ever seeing any interesting films at the Revue Cinema. It is dedicated to Salvatore Martirano, who expressed a liking for the piece.
A Jazz Burlesque was originally was compose as a piano solo.
It was later arranged for accordionist, Kevin Friedrich, one of New Zealand’s leading accordionists and a member of the International Trio from Kansas in America. The International Trio premiered A Jazz Burlesque in Auckland, June 1991, at the New Zealand Accordion Championships. It was later arranged for accordion orchestra and a string orchestra arrangement followed for the all female string ensemble ‘String Silhouette’. They premiered it in Auckland, June 1993.
Originally, A Jazz Burlesque was composed as a piano solo. It was later arranged for accordion trio, then for accordion orchestra. This string arrangement followed for the all female string ensemble ‘String Silhouette’.
In January 1992 the Queensland Wind Soloists requested a short piece using Australian folksongs to be played as an encore number during their coming tour of Canada. The result was this work based on three tunes: the traditional ‘Waltzing Matilda’, the Queensland version of the same, and ‘Click go the Shears’. To the composer’s pleasant surprise all three fitted together, as they do in the final section of the music. The work begins with a somewhat ‘drunken’ phrase from ‘Waltzing Matilda’ (to the ‘amusement’ of the players) before breaking into a traditional setting of the tune. Each folk-tune gets its share of the limelight. Short interludes of untraditional chords provide some contrast in this light-hearted composition for wind octet.