Also available on CD - TIMOTHY REYNISH CONDUCTING:VOL 1 - UNIVERSITY OF KENTUCKY WIND ENSEMBLE 4949-MCD

Samurai (1995) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nigel Clarke United KingdomDiaghilev Dances (2003) . . . . . . . . . . . . . . . . . . . . . . . . Kenneth Hesketh United KingdomDanse Funambulesque (1930) . . . . . . . . . . . . . . . . . . . . . . . . Jules Strens BelgiumL’Homme Armé (2003) . . . . . . . . . . . . . . . . . . . . . . Christopher Marshall New ZealandConcerto for Wind Orchestra (2003) . . . . . . . . . . . . . Christian Lindberg Sweden

VOL 2 - UNIVERSITY OF KENTUCKY WIND ENSEMBLE 5347-MCDDances from Crete (2003) . . . . . . . . . . . . . . . . . . . . . . . . . . . Adam Gorb United KingdomGran Duo (2000) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Magnus Lindberg FinlandAwake, You Sleepers (2002) . . . . . . . . . . . . . . . . . . . . Laurence Bitensky USAPer la Flor del Lliri Blau (1934) . . . . . . . . . . . . . . . . . . . Joaquin Rodrigo Spain

VOL 3 - ITHACA COLLEGE SYMPHONIC BAND 6733-MCD King Pomade Suite no 2 (1953) . . . . . . . . . . . . . . . . . . . . . Ranki Gyorgy HungaryElegy for Miles Davis (1993) . . . . . . . . . . . . . . Richard Rodney Bennett UK/USASymphony of Winds (1981 . . . . . . . . . . . . . . . . . . . . . . Derek Bourgeois UKBlackwater (2006) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Fergal Carroll IrelandTails aus dem Voods Viennoise (1992) . . . . . . . . . . . . . . . . . Bill Connor Wales

VOL 4 - ITHACA COLLEGE WIND ENSEMBLE 6804-MCDImprovisations-Rhythms (1975) . . . . . . . . . . . . . . . . . . . Andreas Makris Greece/USAReflections (2000) . . . . . . . . . . . . . . . . . . . . . . . Richard Rodney Bennett UK/USAL’Homme Armé (2003) . . . . . . . . . . . . . . . . . . . . . . Christopher Marshall New ZealandResonance (2006) . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Marshall New ZealandDances from Crete (2003) . . . . . . . . . . . . . . . . . . . . . . . . . . . Adam Gorb United KingdomMarsch (1981) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marcel Wengler Luxembourg

VOL 5 - 8655-MCDA John Gay Suite (1972) Buxton Orr The “President’s Own” United States Marine BandThe Palace Rhapsody (1997) Aulis Sallinen Baylor University Wind EnsembleSymphony No. 1 in C (2000) Adam Gorb Baylor University Wind EnsembleVranjanka (2005) Kenneth Hesketh Irish Youth Wind EnsembleBlasket Dances (2001) Matthew Taylor SUNY Fredonia Wind EnsembleAdrenaline City (2006) Adam Gorb Royal Welsh College of Music & Drama Wind Ensemble

More information on Timothy Reynish visit www.timreynish.com

For info on recordings of WASBE Conferences in 1999, 2003, 2005, 2007, 2009, 2011 go to www.markcustom.com

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THE PHILHARMONIC WINDS, SINGAPOREThe word “Philharmonic” translates to a fondness or devotion to music, and The Philharmonic Winds truly embraces that. The members

of the wind orchestra came together because of a love for music and ever since have endeavoured to present the finest music for wind orchestrato audiences worldwide.

Formed in 2000, The Philharmonic Winds has grown to more than 70 dedicated members from all walks of life – from tertiary students toworking professionals, music students to wind band instructors.

Amongst a myriad of notable performances, The Philharmonic Winds has performed a collection of landmark works from the windband repertoire.

The Philharmonic Winds is privileged to have collaborated with renowned musicians from all over the world, including trombonistsJörgen van Rijen and Ko-ichiro Yamamoto, saxophonists Vincent Gnojek, Shin-ichiro Hikosaka, Yasuto Tanaka and Kenneth Tse, marimba soloistKevin Bobo, the Boston Brass, euphonium player Kevin Thompson, trumpeters Dai Zhonghui and Yeh Shu-Han, as well as pianist Hae-Jung Kim,baritone Maarten Koningsberger, cellist Roeland Duijne and daiko drummer Makoto Tashiro. The ensemble has also worked with locally-basedsoloists such as cellist Qin Li-Wei, clarinettist Tang Xiao Ping, yangqin player Qu Jian Qing, and saxophonist Fabian Lim.

The ensemble has performed under the baton of such distinguished conductors as Principal Guest Conductor Timothy Reynish, Johan deMeij, Douglas Bostock, Luis Serrano Alarcón, Yasuhide Ito, Surapol Thanyawibool, John Boyd, Zechariah Goh Toh Chai, founding Artistic DirectorRobert Casteels and Music Director Leonard Tan.

An avid supporter of local music, The Philharmonic Winds has staged three concerts dedicated to works by Singaporean andSingapore-based composers. In 2010, to encourage and develop young local composers, The Philharmonic Winds made a call for newcompositions and received twenty works. Three works were selected by an international panel of experts to receive their premieres at the“Singapore Compose!” concert.

In 2002, The Philharmonic Winds initiated the Philharmonic Youth Winds, providing an opportunity for young and passionate musiciansto further their ensemble experience. In 2008, this young orchestra was crowned the top First Division band at the inaugural SingaporeInternational Band Festival. The Philharmonic Youth Winds also achieved a Gold medal and a Silver medal and emerged amongst the top threebands in the Open Division of the same festival in 2010 and 2012.

In July 2005, The Philharmonic Winds participated in the World Music Contest in Kerkrade, The Netherlands, and became the first windorchestra from Singapore to be awarded a Gold medal with Distinction in the First Division. The following year, the ensemble became the firstwind orchestra to perform at the Singapore Arts Festival. In May 2009, the ensemble was invited to perform at the 40th Anniversary of the JapanBand Clinic. This was followed up with the honour of performing at the 15th World Association for Symphonic Bands and Ensembles (WASBE)Conference in Chiayi City, Taiwan in 2011.

The Philharmonic Winds aims to become one of the finest wind orchestras in the region.

MUSIC DIRECTOR: LEONARD TANBorn in Singapore, Leonard Tan’s professional work traverses the worlds of conducting and academia. After a prolific ten-year career as

conductor-educator, he was awarded the National Institute of Education-Nanyang Technological University Overseas Graduate Scholarship topursue doctoral studies at the Indiana University Jacobs School of Music. At the Jacobs School, he studied orchestral conducting with DavidEffron and Arthur Fagen, wind conducting with Stephen Pratt, music education with Estelle Jorgensen, and conducted the Indiana UniversitySymphony Orchestra, Concert Orchestra, University Orchestra, and Summer Concert Band. He graduated with a 4.0 GPA and was awarded theDissertation Year Fellowship.

Prior to his doctoral studies, he was music director of National University of Singapore Wind Symphony, conductor of Singapore NationalYouth Sinfonia, lecturer at LaSalle College of the Arts and Nanyang Academy of Fine Arts, and director of several ensembles from secondarythrough tertiary levels. He has participated in conducting masterclasses with Leif Segerstam, Alexander Polischuk, Johannes Schlaefli, EugeneCorporon, Jack Stamp, Craig Kirchhoff, and Timothy Reynish. He has conducted at the Golden Hall of the Musikverein, Carnegie Hall, Sydney

PRINCIPAL GUEST CONDUCTOR: TIMOTHY REYNISHIn the nineties, Tim Reynish emerged as one of the leading conductors of wind bands

and wind ensembles in the world, and in the past few years he has conducted many of theprincipal professional bands in Asia, Europe, North and South America; these include civilianbands such as Dallas Wind Symphony, Cordoba Wind Band Argentina, State of São PauloSymphonic Band, Brazil, Volga Wind Orchestra of Saratov, Russia, Philharmonic Winds,Singapore, and leading military bands including the "President's Own" US Marine Band, USMilitary Academy West Point, Singapore Armed Forces Band, Croatian Army SymphonicWind Orchestra Zagreb, Norwegian Staff Band Oslo, Hungarian Army Symphonic BandBudapest, and the Band of the Royal Marines, Portsmouth. He comes to the wind world via athorough grounding in orchestral music and opera, having studied horn with Aubrey Brainand Frank Probyn and been a member of the National Youth Orchestra for six years. He wasa music scholar at Cambridge, and held principal horn positions with the Northern Sinfonia,

Sadler's Wells Opera (now ENO) and the City of Birmingham Symphony Orchestra. His conducting studies were on shortcourses with George Hurst, Sir Charles Groves, Sir Adrian Boult, and Dean Dixon in Hilversum. In 1971, he was a prizewinnerin the Mitropoulos Conducting Competition, New York, and he followed with studies with Franco Ferrara in AccademiaMusicale Chigiana in Siena, where he won the Diploma of Merit. In 1975’ he was invited by Sir Charles Groves to becometutor for the Postgraduate Conducting Course at the Royal Northern College of Music; two years later he succeeded PhilipJones as Head of School of Wind & Percussion, a post he retired from after a quarter of a century. He was awarded aChurchill Travelling Fellowship in 1982 which enabled him to study the development and repertoire of the Americansymphonic wind band movement. In the following two decades he developed the wind orchestra and ensemble of theRNCM to become recognized as one of the best in the world, commissioning works from composers such as RichardRodney Bennett, John Casken, Adam Gorb and Kenneth Hesketh, performing regularly in major festivals, broadcasting forBBC and Classic FM, playing at three WASBE Conferences and making commercial compact discs for Doyen, Serendipity andChandos. Recently, he was awarded post of Guest Conductor with the Kharkov State I.P.Kotlyarevsky University of Arts inUkraine, conducting four concerts and being awarded an honorary doctorate. In the last season, his engagements includedconcerts in Manchester, Ukraine, Singapore, Taiwan, Hong Kong, Canada, Newcastle and with the U S Coast Guard Band.

www.timreynish.com

Also available on CD - TIMOTHY REYNISH CONDUCTING:THE ROYAL NORTHERN COLLEGE OF MUSIC WIND ORCHESTRA

CHAN 9549 Percy Grainger Works for Wind Orchestra Volume 1CHAN 9630 Percy Grainger Works for Wind Orchestra Volume 2CHAN 9697 British Wind Band Classics, Holst & Vaughan WilliamsCHAN 9805 German Wind Band Classics, Hindemith, Schoenberg, Toch & BlacherCHAN 9897 French Wind Band Classics, Berlioz, Schmitt, Milhaud, Bozza & Saint-SaensDOYCD 037 Morning Music - Midnight Music:Richard Rodney Bennett & Irwin BazelonDOYCD 043 Wind Music by Edward GregsonDOYCD 127 Wind music by Judith Bingham, Adam Gorb and Roger MarshKLAV 11152 Wind music by Nigel Clarke, Adam Gorb, Martin Ellerby & Geoffrey Poole

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Opera House, and led Singapore Symphony Orchestra musicians in a Singapore-Japan Composers Exchange Concert. He has adjudicated infestivals in the United States and Asia, and presented lectures at the University of the Pacific, University of Kansas, and Indiana University. As ascholar, he has published in the Philosophy of Music Education Review, Journal of Band Research, and Music Educators Journal.

ZECHARIAH GOH TOH CHAIBorn in Singapore, Dr. Zechariah Goh Toh Chai is a Senior Lecturer of Composition at the Nanyang Academy of Fine Arts, and a prolific

composer of music ranging from choir, symphonic band, wind ensemble, chamber music, to large-scale orchestral works. Well known for hiscareful infusion of Southeast Asian-Chinese music with Western traditions, Zechariah has received commissions from numerous local andinternational music organisations. His choral works have been premiered internationally and won prizes in international competitions in Austria,Brazil, Germany, Greece, and the USA, among others.

Zechariah attained his Master of Piano under a University of Kansas scholarship. For his Doctorate, he majored in Composition under theguidance of Dr Charles Hoag and concurrently studied Orchestration and Arrangement under James Barnes. He was awarded the prestigiousAnthony Cius Prize for outstanding student composer from the University of Kansas for the Academic Year of 2001/2002.

Besides adjudicating at international choral and band competitions, Zechariah is also an active speaker at international music conferencessuch as WASBE, ISME and APSME.

For his artistic excellence in the field of music, Zechariah was conferred the Young Artist Award (Music) by the National Arts Council in2003, a prestigious national award presented by the President of the Republic of Singapore.

LI-WEI QIN, CELLOAn exclusive Universal Music China Artist, Li-Wei Qin has appeared all over the world as a soloist and as a chamber musician. After

achieving great success at the 11th Tchaikovsky International Competition where he was awarded the Silver Medal, LI-Wei has since won the FirstPrize in the prestigious 2001 Naumburg Competition in New York.

Li-Wei has enjoyed successful artistic collaborations with the Rundfunk- Sinfonieorchester Berlin (Janowski), London Philharmonic(Briger), BBC Symphony (Van Steen), BBC Philharmonic (Totelier), BBC Scottish Symphony(Brabbins), Hong Kong Philharmonic (Van Zweden),Osaka Philharmonic (Belohlavek), China Philharmonic (Yu Long), Sydney Symphony (Tan Dun), Melbourne Symphony (the late Viotti) andSinfonia Varsovia (the late Lord Menuhin). Li-Wei has also appeared with chamber orchestras such as the Munich Chamber Orchestra, ZurichChamber Orchestra, Australian Chamber Orchestra and the Kremerata Baltika.

2011/12 season includes appearances with the NDR Sinfonieorchester Hamburg, the Konzerthausorchester Berlin, the BBC NationalOrchestra of Wales, the Deutsch Staatsphilharmonie, the Korean Symphony, the Shanghai Symphony and Singapore Symphony Orchestra,among many others.

In 2013, Li-Wei will be appearing with the BBC Symphony at the Barbican, recording the Elgar concerto with the London Philharmonic andas guest artist for the Lincoln Centre Chamber Music Society, New York.

Li-Wei records for Decca, EMI Classics (China), Cello Classics, ABC Classics and Channel Classics. His complete Beethoven Sonatasrecording was released on the Decca label in Spring 2010. Future releases with Decca include Dvorak, Elgar and Britten concertos.

Born in Shanghai, Li-Wei moved to Australia at the age of 13, before accepting scholarships to study with Ralph Kirshbaum at the RoyalNorthern College of Music. In 2002, Li-Wei received the Young Australian of the Year Award.

Prior to teaching at the YST Conservatory, Li-Wei was a professor of cello at the Royal Northern College of Music. He is also a guestprofessor at Shanghai and Central Conservatory of Music in China. Li-Wei plays a 1780 Joseph Guadagnini cello, generously loaned by Dr andMrs Wilson Goh.

Musicians for U Trau and Symphonie BombastiquePiccolo/FluteAndy SimSeow Shu Feng

FluteChong Ket FongDarence LengFoo ShirinSheng Jia-min

OboeBrenden ChiaTay Kai Tze

Oboe/Cor AnglaisFong Chong Suan

BassoonRoland TayYap Peiying

ContrabassoonZhao Ying Xue

Eb ClarinetLiang Jiayi

Bb ClarinetBenjamin PooiCheong Mun HoeDaniel YiauDesmond ChowKelvin AngKoh Jia Rong[Malcolm Sng]Ng Cheng HuatOliver TanRalph Emmanuel LimStanley SimVanessa CanedaLim Wei Cheah*Zhang Fu Quan*

Bass ClarinetLim Lip Hua

Contra Alto/Bass ClarinetSean Tan

Soprano/Alto SaxophoneAng Yi Xiang

Alto SaxophoneAdrian ChongYap Sin YeeNicholas Soh Qian Hao*

Tenor SaxophoneChen JiaxinMuhammad IdhamBin Abdul Rahim*

Baritone SaxophoneLionel LyeKhairul Anwar Bin

Othman*

HornAlan KartikColin NgLewis PohLim Meng WeeYap Yoke Lim

Eb/Bb/C TrumpetChong Loo Kit

Bb/C Trumpet/CornetDanny TeongLee Tjen Chew

Bb/C TrumpetChoy Wei Peng

Bb Trumpet/CornetWong Kah Chun

Bb TrumpetChristopher Yong Lin*

TromboneAdrian CheongKok Tse WeiOng Jiin JooSebastian Koh

Bass TromboneTan Wei BoonLien Boon Hua*

EuphoniumAdrian ChiangJoseph Teo

TubaDaniel KiangPei Lianwei

PercussionAngeline WeeMohamad HaziziChin Hui HuiBernard YongJaeden Chia YulinHo Weng Siong

TimpaniYeow Ching Shiong

PianoTang Lee Swan

String BassWang Xu

Musicians for Concerto for Violoncello and Wind Orchestra and DanceriesPiccolo/FluteAndy Koh^Andy SimSeow Shu Feng

FluteDarence LengSheng Jia-minTeo Shao MingVera Ran WeiVictoria Koay

OboeElaine YeoTay Kai Tze^

Oboe/Cor AnglaisSimon Lee

BassoonSim Kang RongYap Peiying^

ContrabassoonZhao Ying Xue

Eb/Bb ClarinetLiang Jiayi^

Bb ClarinetBenjamin WongCheong Mun Hoe^Daniel YiauDesmond ChewDesmond ChowJolie GiouwKelvin AngKoh Hong GheeLim Wei CheahNg Cheng HuatOliver TanVanessa Caneda

Bass ClarinetLim Lip Hua

Soprano/Alto SaxophoneSatoru Ota

Alto SaxophoneAdrian ChongAng Yixiang

Tenor SaxophoneChen Jiaxin

Baritone SaxophoneLionel Lye

HornAlexander Ian Oon^Christopher ShenColin NgLewis Poh^ Yap Yoke Lim

Trumpet/CornetAndi ShafiqChoy Wei PengChristopher Yong LinFrancis KohLau Weng Rong^Lee Tjen Chew^Ray Chionh

TromboneAdrian CheongKok Tse WeiOng Jiin JooRegan Wickman^Sebastian Koh

Bass TrombonePisit Priyaporn

EuphoniumIgnatius Wang KebinJoseph TeoSongyosUmmouypornsatid

TubaDaniel Kiang^Louis YeoPei LianweiWong Yin Xuan

PercussionRamu Thiruyanam^Melvin LeongEugene TohChin Hui HuiJessie ChuaCheryl Ong Ying Ying

TimpaniYeow Ching Shiong

PianoLaurence Yu

String BassWang Xu^

GuitarKevin Ow^

Legend* Performed in

U Trau only^ Musicians for

Concerto forVioloncello andWind Orchestra

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U Trau

Mi pa hae u trau....Mi pa trau ke Gaia pa bi u gja ple i zi au kla floa.Mi pa trau ke Gaia pa bi mo nzio e u tou hua o le zi nziope.Mi pa trau ke u hua pa bi u fmi, e au pe zi zbi;e ke zi ho e fe pa ge ksoi gua, smi duoflue o bvi.

Mi pa trau o muo i ke au gue pa pa sto, i ke u pae pa flo smi rio.Mi pa trau o muo i ke pa ge bi u nui pro ca fae pe, u hlai pro ca maupe, u kfoa pro ca trie pe, au ge gi pro lau;U muo i ke ca pe pa hae u do, i ke u rai pa ge cea, i ke ca hua bio pabi u ge zreo bju.Mi pa trau ke Gaia pa bi u hau e au biole o le zi haupe.Mi pa trau ke u tou hua pa zvea Gaia: o le klea kua, o le puo ea, o leno mbea beu, o le mzie.Mi pa trau ke au griape pa crei u trea, au pcipe pa crei u mae; e ke utou hua i ca lo pa po hea u kco o Gaia.

E mi pa vgae, e mi pa vi, e mi pa di:A nu ski o Gaia nzie kco,Vai nu kri u niu kco pro hua,A nu kco pro beu fu tai,Pro zi sfia cie, zi mrea mae,Pro lau e joi e spie e pae,U fu tai ple i zi voe o zi kni,U fu tai ple i zi trau.Nu hae u trau…

The Dream

I had a dream....I dreamt that the earth was a garden full of flowers of every colour.I dreamt that the earth was one nation and all humanity its citizens.I dreamt that humankind was a family, and all people brothers andsisters; and that men and women were seen as equal, like the twowings of a bird.

I dreamt of a world where all wars had ceased, where peace flowed like a river.I dreamt of a world where there was food for the hungry, healing forthe sick, comfort for the sad, all given out of love;A world where everybody had a home, where wealth was shared,where each human life was a jewel to be treasured.I dreamt that the Earth was a house and all living things its tenants.I dreamt that all humanity cared for the earth, its clear water, its cleanair, its incomparable beauty, its mystery.I dreamt that all farmers cherished the land, all fishermen cherished thesea; and that all humanity everywhere could hear the song of the earth.

And I woke, and I saw, and I said:Let us learn the earth’s ancient song, While we write a new song for humanity, Let us sing for a beautiful future, For sapphire skies and emerald seas, For love and joy and wisdom and peace, A future full of the voices of children, A future full of dreams.We have a dream…

Danceries (Set II) (2010) Kenneth HESKETH (1968 – )I. Jennie’s Bawbee II. Tom Tinker's Toye III. Heart's Ease IV. Peascord's Galliarda

This second set of Danceries continues the general format established in Danceries (Set I), namely in using material taken from Playford'sDancing Master, a collection of folk and popular tunes published in the 17th century, to form the basis of an extended dance suite. In this set, themelodies have been more abstracted and project only a distant echo of their original forms, but as before, each movement is self-contained,colourful and direct, with its own distinct mood. The outer movements – Jennie's Bawbee and Peascod's Galliarda – share the use of drivingpercussion writing with a military air. Tom Tinker's Toye and Heart's Ease (movements two and three) are both settings of original melodies. Allmovements are more extended than in the first set, with a freer use and approach to the material; melodies now occur in various keys and aresupported by a greater variety of harmonic colouring. The result is a richer, more exhilarating set of dances. Danceries has come of age!

Notes by Kenneth Hesketh

U Trau (2004) Christopher MARSHALL (1956 – )

In this work for a chorus and two wind bands, Marshall uses a Romantic setting of a simple text in the language of Niuspi, to contemplatean ideal future world. Niuspi has vocabulary derived mainly from Indo-European languages and grammar, resembling Chinese in some aspects.

Notes by Christopher Marshall

Concerto for Violoncello and Wind Orchestra (1980) Friedrich GULDA (1930 – 2000)I. Ouverture II. Idylle III. Cadenza IV. Menuett V. Finale alla Marcia

On a rainy summer day a few years ago I first visited Friedrich Gulda with a thumping heart. At the time I didn’t dare imagine how fruitfulour musical cooperation would soon become. My respect for this man and his many-sided talents reaches far back to my musical childhood; it isto him that I owe first intense stimuli for expanding and breaking down my “classical” musical barriers.

Quite naturally Gulda’s clavichord with its infinite spectrum of sounds and my cello led to first musical approaches between us, after onlya few preliminary words. I believe that first thoughts and ideas for the cello concerto date from our original, almost coincidental encounter.Other meetings during the following months intensified our mutual understanding; at least in the sense that Gulda got more and moreacquainted with my cello and me. Furthermore I received impulses for my playing, which became useful two years later (1980) when the celloconcerto materialised (impulses of such far reaching effects, which leave me forever personally and musically indebted to this man).

Specifically, the first movement of the concerto presents completely new challenges to the cellist. Besides the immensely difficulttechniques involved, the aggressive rock-rhythm needs to be mastered. It must be played exactly, without vibrato and other things, which mightbe considered bad habits of classical music in this context. I was happy, and Gulda was maybe somewhat surprised that I succeeded at this task.Three times two choruses interrupted by two gentle lyrical interludes (or second themes) not only fulfilled my dream for cello playing in theidiom of jazz and rock, but they also excite the listener with their rock-hard tension. To that, almost surprisingly, the second movement forms thecomplete opposite. “Idylle” precisely describes the Austrian Salzkammergut as the source of beauty, the greatness and the simplicity of thismusic (the fact that I was born in this region is pure coincidence and it meant an additional challenge to me).

A spread-out simple melody expresses everything we often miss and search for – something any listener will find, if he is able to feel thestrength of this music freely. The jovial middle part of this movement brings happy country-like relaxation and its centre is a tribute to the cellist,who may excel, like a tenor, in the best register of his instrument.

The cadenza – central point of the concerto – develops out of the last B-flat major chord of the second movement. The two improvisedsections are easily recognisable. The first one with its wild double stops and the second (according to Gulda) with “lovingly whistling” harmonicsboth contrast charmingly with thoughtful and hesitating monologues, as well as with wild rhythmic memories of the time before the “Idylle”. Thelistener then finds himself calmed, as if in a dream, in the fantastically unreal minuet, which seems to have glided from its Central Europeanorigins into an oriental reverie; the wonderful maggiore-trio seems to float in space.

The last movement overwhelms with earthly happiness. It does not flirt but identifies itself completely with alpine brass music. The cellogets its chance to excel on this rustic basis; even the beloved and well-respected star-tenor of the health-resort (Bohemia?) may twice show howfrighteningly beautiful and full of emotion he can sing. Extremely agitated, like a thunderstorm in the Austrian Salzkammergut, a jazz-like middle-part develops once more. It is followed by a “coda par excellence” which, first smilingly, then outright laughingly stimulates the now alreadybreathless soloist to reach a magnificent end.

Notes by Heinrich Schiff(Translation: Dr. David Gulda)

Symphonie Bombastique (2008) Zechariah GOH Toh Chai (1970 – )Symphonie Bombastique is a musical caricature of the wonderful Timothy Reynish, who commissioned this work in celebration of his

70th birthday.Rich symphonic sounds highlight the warm, humorous and carefree personality that characterises Timothy. The jazz section in the middle

pays homage to this beautiful genre that flourished during the mid-20th century, a big part of Timothy’s life.This work is the composer’s little birthday present to Tim.

Notes by Zechariah Goh Toh Chai

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Records 10815 Bodine Road • Clarence, NY 14031-0406Ph: 716 759-2600 • www.markcustom.com • Support Music, Don’t Copy.WARNING: All rights reserved. Unauthorized duplication is a violation of applicable laws.

Danceries (Set II) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kenneth Hesketh

1. I. Jennie’s Bawbee 3:29

2. II. Tom Tinker's Toye 2:43

3. III. Heart's Ease 4:17

4. IV. Peascord's Galliarda 5:21

5. U Trau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Marshall 10:18With singers from Serangoon Junior College Choir,

Nanyang Academy of Fine Arts Alumni Choir, NJ Chorale and Common.Voices

Concerto for Violoncello and Wind Orchestra . . . . . . . . . . Friedrich Gulda

6. I. Ouverture 5:01

7. II. Idylle 7:15

8. III. Cadenza 6:28

9. IV. Menuett 3:47

10. V. Finale alla Marcia 7:09Li-Wei Qin, Cello

11. Symphonie Bombastique . . . . . . . . . . . . . . . . . . . . Zechariah Goh Toh Chai 11:09

Zechariah Goh Toh Chai, Conductor

9576-MCD � 2012