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• Beresford: A Jaunty Tune; computer-set 

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A short song for female voices (SSAA) and piano with a humorous twist at the end.

• Douglas: A Melancholy Song; computer set 

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• Douglas: A Melancholy Song; computer set 

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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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A Christmas Carol for mixed voices (SATB) to a text by W. Austin (d. 1633). The cock crows to awaken the world to the holy birth.

• Douglas: Chanticleer; computer set 

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• Douglas: Chanticleer; computer set 

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Composed on my return to New Zealand after living for two years in Toronto; based on a randomly generated sequence of notes from Hong Kong composer Joshua Chan’s piece Circular Triangle.

This musical greeting received its first performance in Auckland in October, 2003 at the 09(03) Contemporary Music Festival. The performer on that occasion was violinist Mark Menzies.

• Carey: Circles in Circle (Auckland Greeting); facsimile 

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• Carey: Circles in Circle (Auckland Greeting); facsimile 

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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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The title Czeske Krumlov was suggested by the composer’s Czech friend.

• Christopher Prosser: Czeske Krumlov 

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• Prosser and Seymour: Camden Mews NW   Year: 2006 

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• Nunns and Melbourne: E Taku Kuru Pounamu 

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• Melbourne and Nunns: Te hekenga-a-rangi  Year: 2003 

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• Rosie Langabeer: Elephant  

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• Zirkus! – Sirius Music 

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• Jagger: Epithalamium 2; facsimile 

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• Jagger: Two Epithalamiums; facsimile 

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