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2 trumpets, horn, trombone, tuba

This work for brass quintet and narrator was written for the NZ Brass Quintet to perform in schools.

• Freed: A Nursery Tale; facsimile 

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• Freed: A Nursery Tale; facsimile 

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• Freed: The Circle and A Nursery Tale 

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Originally a work in four movements written for the Amici Trio, this was later revised in 2002 to include two new movements, Scherzo and Intermezzo.

• Biddington: Music for Friends Vol. 1; facsimile 

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• Biddington: Music for Friends Vol. 1; facsimile 

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• Biddington: Music for Friends; computer-set 

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• Biddington: Music for Friends; computer-set 

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• Biddington: Music for Friends; computer-set  Year: 2002 

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• New Zealand Music for Creative Dance (Volume Two) 

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• Music for Friends: the chamber music of Eric Biddington  Year: 1997 

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choir, percussion, Rarotongan drums, guitars (students), Taonga Puoro (koauau), piano, clarinet in B flat, alto saxophone, horn in F, flute, guitar (advanced performer)

Nga Tapuwae o Kupe is a music drama directed by Rangimoana Taylor. It is based on the story of Kupe’s journey from Hawaiki to Aotearoa and his discovery of various landmarks around Whanganui-a-Tara / the Wellington region.

While this work maintains a strong Maori theme, with karanga, haka and waiata, as well it weaves in other Pacific and European elements.

For school choir, instrumentalists, dancers and kapa haka, this work was composed with the financial assistance of a composition grant from Queen Elizabeth II Arts Council, was first performed by 140 students from South Wellington Intermediate School in July 1992 for Artsplash, the Wellington Young People’s Festival.

• Fisher: Nga Tapuwae o Kupe; facsimile 

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• Fisher: Nga Tapuwae o Kupe; facsimile 

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• Helen Fisher: Works 1  Year: 1992 

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oboe/ violin duet (or other instruments with the same range), clarinet in B flat, violin section (at least 2 players), cello or cello section; Perc 1: glockenspiel. triangle, slide-whistle, whistle, egg-shakers, cap-gun or 2x 'party poppers'; Perc 2: typewriter, woodblock, bicycle horn, aluminium frying pan, vibra-slap, piano; everybody in the group also needs to have a 'kazoo'

• Lauder: Noisy Types; computer set 

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• Lauder: Noisy Types; computer-set 

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• Lauder: Noisy Types 

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solo piano and 2222;4231; timp; 2 perc; strings

This concerto is a sunny and life-affirming work. There are moments of reflection however, such as the slow introduction, where a long melody on piano is picked up by the strings in the orchestra. Elements of this melody become the basis for the ’allegro’ that follows which features three main ideas. The second of these, on piano with strings playing pizz. and col legno, is hyperactive and unpredictable. By comparison, the third theme that emerges on piano solo is more lyrical, and neo-classical in style. A busy development section builds to a climax and themes appear in reverse order. The fleet-footed coda features canonic entries and the movement comes to a bubbly conclusion.


In the slow movement a modal melody is undercut by dissonances on the piano, suggesting painful memories. The melody is passed over to the flutes, and back to the piano in a quasi-improvised passage. A second theme appears on the violins, lyrical and arching. After development of the theme, the piano has a short solo that brings the music back to the opening. Following an unexpected modulation the main theme is varied by the orchestra, leading to a short, quiet coda.


The finale is a whimsical, neo-classical piece, descriptive of the movements of wind-up toys. Dramatic gestures are really only mock-dramatic, and serious ideas give way to playful fun as ideas are shared quickly between orchestra and piano. The percussion have something to say near the end, suggesting toy soldiers, before the pieces comes to a rapid end.

• Ritchie: Piano Concerto No. 3; computer-set 

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• Ritchie: Piano Concerto No. 3; computer-set 

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• Anthony Ritchie: Piano Concerto No. 3 

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• Two Pieces by Anthony Ritchie 

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any combinations of instruments in any size group

• Besser: Play-On; computer-set 

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• Besser: Play-On; computer-set 

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• Besser: Play-On  Year: 1995 

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• Ritchie, A.: The Flower of Scotland; computer-set 

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• Ritchie, A.: The Flower of Scotland; computer-set 

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• The Big Sing Finale 1999  Year: 1999 

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• The Big Sing Finale 2004  Year: 2004 

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• Sunrise: Music from New Zealand for Young Pianists  Year: 2008 

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• Sunrise - Music from New Zealand for Young Pianists  Year: 2008 

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This setting of Antonio Machado’s poem is intended as a study in atmospheric textures. Little of the music is loud or dramatic, and much of the writing consists of repetitive patterns sung by the singers independently of each other. Machado, a Spanish poet of the early twentieth century, describes the simple image of a beach at night in summer, with a voice singing in the distance. Over the scene hangs the moon. The setting does not present the entire text, but uses only fragments of the poem. From the text the words “la luna” (the moon) are heard most often. A solo voice from within the choir sets the scene with the words “A summer’s night on the beach of Sanlucar…”.

Throughout the work a singing bowl sounds in the background, beginning and ending with the single struck note. At times the bowl disappears into the texture and at times it is clearly audible – steady and unvarying.

Una Noche de Verano was written for conductor Rowan Johnston and his choir Choralation (students of Westlake Girls’ and Westlake Boys’ High Schools, Auckland).

David Hamilton

• Hamilton: Una Noche de Verano; computer-set  Year: 2010 

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• David Hamilton - Music for Mixed Voice Choirs Vol. 1 

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can be played on other instruments

These tunes can be played on any instrument (e.g. violin, flute) with accompaniment of chords on guitar or piano. They are played in Celtic fashion, that is, the tunes have a cyclical nature and can be repeated as many times as desired.

• Prosser: Wee Happy and the Lounge Bears; computer-set 

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• Prosser: Wee Happy and the Lounge Bears; computer set 

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• Wee Happy and the Lounge Bears  Year: 2001 

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• Prosser and Seymour: Camden Mews NW   Year: 2006 

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