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David Hamilton  

A Child Comes Forth

Duration: 13' 00" Year: 2006
for SSA choir with percussion and harp

  • Programme Note

    This work was written at the request of conductor Elise Bradley for her highly regarded choir Key Cygnetures at Westlake Girls High School (Auckland).

    It was intended for a ‘mid-winter Christmas’ concert which was to also feature Britten’s A Ceremony of Carols. I therefore felt happy to turn to Christmas texts with some of the more traditional Christmas references (snow etc).

    The first text is from the fifteenth century and is a general text mentioning Mary, the manger, the wise men, and the gifts they brought, and ends with call to delight in the Christ child. The second text, by G.K. Chesterton contains images of snow and night, and ends with the line that gives the work its overall title. The third text is a variant of the carol ‘I saw three ships come sailing in’ and may refer either to the medieval myth that Joseph and Mary travelled to England, or obliquely to purported journeys of the relics of the wise men. The fourth text is a lullaby by nineteenth century poet John Addington Symonds. Again the wise men and their gifts are mentioned along with the shepherds. The final text is another anonymous one, and is simply a brief and energetic welcome to ’heaven’s King’.

  • Availability

David Hamilton  

Dear Santa (How's It Looking?)

 Year: 2006
For SA, piano (suitable for primary school choirs)

David Hamilton  

Missa semplice

Duration: 23' 00" Year: 2006
for SAB choir with piano (or organ)

David Hamilton  

Not Made With Hands

 Year: 2006
for SSA choir and piano

  • Programme Note

    This work sets a poem by New Zealand poet Ruth Gilbert. The poem is in two verses – the first having a questioning and searching tone, while the second presents the resolution. Love is at the centre of the text: for it is love that is the “rose that will not die” and the “house not made with hands”.
    The text begins:
    Find me the rose that will not die,
    The tree no axe can fell,
    The spring no Summer’s drought shall dray,
    And this last miracle: …

  • Availability

David Hamilton  

Pangur Ban

Duration: 05' 00" Year: 2006
for SA, percussion (optional) and piano

  • Instrumentation
    percussion: triangle, guiro and tambourine
  • Programme Note

    The true origins of this Irish text are lost in the mists of time although it is generally agreed to date from around the 9th century. Amongst the various stories of its origins are that it was written by an Irish monk in Austria (or maybe Switzerland), in the margin of a manuscript (or maybe on the back of a page), and in Irish. One story even suggests it was written while the monk was working on the Book of Kells (almost certainly false though).

    The poem was originally in a form of Gaelic and the generally acknowledged best translation is by the scholar Robin Flower (1881-1946) – an English poet and translator from the Irish language. The name of the cat, Pangur Ban, simply means ‘white Pangur’ or ‘white cat’, Pangur being a common name for a cat. In translation the cat is referred to as male – a talented tomcat!

    One source sums up the poem this way:
    Sometimes called ‘The Monk and his Cat’, the poem Pangur Ban was written by an Irish monk, in the 9th century. It details the similarities between the scribe hunting appropriate words and solutions, and his pet cat hunting mice.

    Pangur Ban was written at the request of conductor Jane Money for Boston City Singers in the USA.

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David Hamilton  

Prayer for Peace

 Year: 2006
for SATB a cappella

David Hamilton  

Tell Me Again (the Story of Christmas)

Duration: 02' 00" Year: 2006
for SA and piano

Claire Scholes  

The Bewitching Moon

Duration: 07' 14" Year: 2006
graphic score for unaccompanied SATB choir

  • Programme Note

    I was inspired to write this piece after seeing Tim Hope’s remarkable award-winning animation The Wolfman, in which a scientist becomes bewitched by the moon’s intoxicating appearance at the end of his telescope, and subsequently becomes a wolf who crashes through planets on his carbon rocket. I have also been interested in Schoenberg’s Pierrot Lunaire, which also talks of moonlight as being the wine which one drinks with one’s eyes. I have sought to use the choir to evoke a ritualistic atmosphere of a community becoming bewitched by the moon, and, in their state of intoxication, paying homage to it and endeavouring to become part of it.

    I particularly wanted to use the choir in a way that would make them sound less like a spotlessly melodious well-blended choir and more like a wildly theatrical soundscape generator.

    Claire Scholes

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David Hamilton  

The Dragons are Singing Tonight

 Year: 2006
for SATB choir and orchestra

  • Instrumentation
    2020; 0230; timp; 3 perc; pf; strs
  • Programme Note

    When I chanced upon a copy of the book The Dragons are Singing Tonight I was immediately entranced by the poems and struck by their possibility for musical setting. Jack Prelutsky is an American poet, whose poetry for children is highly regarded and widely anthologized. Although not a cycle, the poems have a sense of progression through the book.

    I have tried to retain that same kind of logical progression in my selection of about half of the original set of poems. The first two movements are performed without a break between them. The brief opening section serves as a caution to the listener and is followed by a description of one’s thoughts while waiting for a dragon egg to hatch. The third poem was initially set for treble voices for the choirs of Westlake Girls High School in Auckland. Although it was not originally intended for this work, I finally decided I liked it too much to leave out! Boom! the thunder dragon’ is a purely instrumental description of the dragon who claims “I am Boom the thunder dragon, taller than the tallest trees, I stir mighty whirlwinds when I whisper, mighty cyclones when I sneeze…”. The fifth piece is a lament by a dragon who is tired of being “repulsive, despicable, ruthless and fierce…”. Unfortunately he realises he can’t change his nature!

    One of the early concert reviews of the work suggested that the work “went into a more pensive mood” in the second half. Therefore I’ve incorporated into the score I Have a Dozen Dragons’ between the original fifth and sixth movements. This was originally written for treble voices as an independent piece, and here retains that use of just the sopranos and altos. It’s a lively tale of someone buying a dozen (very small) dragons at the mall. The following piece gives the work its title and tells of the dragons awaking in their underground lair for their one special night of the year. The final movement suggests that while dragons were once believed in, their time is now over and they’ve lived their last. Or have they?

    The Dragons are Singing Tonight was commissioned by Auckland Choral Society (conductor: Peter Watts) with funding provided by Creative New Zealand for a combined concert with one of the country’s top brass bands. The orchestral version was made in 2006 for the same choir to perform in its 2007 concert season. The texts from The Dragons are Singing Tonight are used by kind permission of the poet and Greenwillow Books, New York (a division of Harper Collins). The Dragons are Singing Tonight was first performed on 29 June 1996 by Auckland Choral Society and Fosters Auckland Brass, conducted by Peter Watts.

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