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The music of ‘A West Irish Ballad’ follows the course of an anonymous Irish poem, and is influenced by Irish traditional music. Much of the musical imagery comes from the poetry, from the snipe and the ‘lonely bird in the woods’, to the developing ostinato reminiscent of church bells, and to the broader feeling of the landscape as I imagine it, and the deep emotion of Irish laments and love songs. ‘A West Irish Ballad’ was written for the Sydney Chamber Choir.

• Maclean: A West Irish Ballad; facsimile 

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• Maclean: A West Irish Ballad; facsimile 

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• Clare Maclean: A West Irish Ballad 

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• Clare Maclean: Complete Choral Music 

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• McLeod: Sun Festival Carols; computer-set 

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• Wanganui Schola Sacra Choir: Pohutukawa Carols  Year: 2002 

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• McLeod: Childhood; computer-set 

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• McLeod: Childhood; facsimile  Year: 1988 

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• Jenny McLeod: Childhood 

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• Jenny McLeod: Childhood 

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• Prisms - The Bach Choir 

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• NZ Flora Series Vol 4  Year: 1985 

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• Prisms - The Bach Choir  Year: 1985 

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• NZ National Youth Choir on Tour North America  Year: 1994 

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• Tower New Zealand Youth Choir: Winds that Whisper  Year: 1998 

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The text for ‘Christ the King’ is taken from two poems by James K. Baxter: ‘Song to the Father’ and ‘Song to the Lord God on a Spring Morning’. The title of the piece comes from the feast day of October 25th in the church calendar, and the plainsong for this day is used in the opening and ending of the work. ‘Christ the King’ was written for the Sydney Chamber Choir.

• Maclean: Christ the King; facsimile 

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• Maclean: Christ the King; facsimile 

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• Clare Maclean: Christ the King 

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• Clare Maclean: Complete Choral Music 

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• Hamilton: Didn't It Rain; computer-set 

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• Hamilton: Didn't it Rain; facsimile 

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• Noises, Sounds and Sweet Airs  Year: 1990 

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• Tower New Zealand Youth Choir: Choir of the World  Year: 1999 

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The book of Job, Chapter 38, is the basis of the text from which ‘Et Misericordia’ makes a series of pictures. The title is from a phrase of the Magnificat: ‘and his mercy is on those that fear him, from generation to generation’. ‘Et Misericordia’ was written for the Sydney Chamber Choir.

• Maclean: Et Misericordia; facsimile 

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• Maclean: Et Misericordia; facsimile 

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• Clare Maclean: Et Misericordia 

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• Clare Maclean: Complete Choral Music 

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Risky, perhaps, to create a set of ‘Lullabies’, if one wants to avoid sending an audience to sleep! But a lullaby might not always be soporific, if we consider the state of mind of the singer, who may be singing as much for themselves, projecting onto the child their own anxieties, frustrations, aspirations, hopes.

The musical language tries to suggest a folk-like simplicity; the invented languages likewise hinting at distant regions, no. I African perhaps, II Turkish, III Latinate, IV Pacific. In the final movement, the word ‘Calumbaya’ is borrowed from the name of a Filipino friend’s barrio, a name so euphonious as to be irresistible.

Invariably, mature age is a time for surrendering to seductive nostalgia and sentimentality, the very things one had previously studiously avoided. But the challenge is to find true beauty in the banal, and mystery in common cliché, something I attempted in my several settings of old songs, remembering my dear, departed paternal grandmother, and also my hale and hearty 100 year-old father, whose musical tastes extend little further than old style tunes like these.

Five Lullabies was composed in 1989 as a tribute to Peter Godfrey on his retirement, and was first performed in its entirety by the Tudor Consort. Musically, they were partly inspired by my discovery of the wonderful vocal polyphonies of some of China’s minority cultures, sometimes characterised by the so-called ‘dissonant’ interval of a 2nd being held to resonate as a consonant.

• Body: Five Lullabies; computer-set 

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• Baroque Voices: How Great is the Pleasure   Year: 2001 

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• Waiteata Collection of New Zealand Music Vol. 6 - Composer Portrait: Jack Body  Year: 2003 

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• a bridge of dreams  Year: 2011 

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Five Vignettes of Women was commissioned in December 1987 by Christchurch flautist, Rebecca Steel, and was first performed by her in April 1988 with a women’s choir conducted by the composer. Each work has a subtitle and the texts are taken from the writings of the subject of each song: Virginia Woolf, Olivia Spencer-Brown, Robin Hyde, Fanny Buss and Katherine Mansfield.

• Buchanan: Five Vignettes of Women; facsimile 

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• Buchanan: Five Vignettes of Women; facsimile 

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• Buchanan: Five Vignettes of Women; facsimile 

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• Dorothy Buchanan: Olivia from Five Vignettes of Women; Con Brio; video 

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• Dorothy Buchanan: Olivia from Five Vignettes of Women; Craighead Chorale; video 

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• Music for Vienna: Bel Canto Choir 

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• The Big Sing Finale 2005  Year: 2005 

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Although the title comes from the hymn All People That On Earth Do Dwell, this work is more concerned with the pleasures and pitfalls of aging, than with piety. The texts are from a collection of writings (both poetry and prose) associated with each age from birth to 99 years old. The selection I made was purely of those items which appealed to me personally – some are humorous, others more serious, some cynical whereas others contain wisdom.

From Age to Age Endure was commissioned by Auckland Youth Choir, and is affectionately dedicated to them and their conductor at the time, Brigid McLafferty. I was asked to write a work with jazz influences, and although not a great jazz fancier, I hope I have created a work which is fun to sing and enjoyable to listen to. The work is scored for solo soprano, SATB choir and small ensemble (or piano duet).

David Hamilton

• Hamilton: Epitaph to Mrs Freland; computer set 

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• Hamilton: From Age to Age Endure; computer set 

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• Hamilton: From Age to Age Endure; computer set 

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• Hamilton: Jerry Jones; computer set 

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• Noises, Sounds and Sweet Airs  Year: 1990 

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• The Big Sing Finale 1999  Year: 1999 

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• McLeod: Sun Festival Carols; computer-set 

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• Wanganui Schola Sacra Choir: Pohutukawa Carols  Year: 2002 

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