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David Hamilton  

A Blessing for Saint Kentigern

 Year: 2008
for 2-part treble-voice choir, SAB choir and piano

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  • Programme Note

    This work was commissioned by choral director Stuart Weightman for performance at Saint Kentigern School in Auckland. The brief was to write a work that could be performed by the school’s choir, but which also included a section for the parent’s choral group attached to the school. Also, ideally the work would include something for both groups to sing together. Finally, it should be possible for either of the separate choir sections to stand alone as independent pieces.

    The suggested texts were a blessing from a bookmark given to all the boys at the school, and a blessing often used in chapel services. To the first text I added a couple of lines which closely matched the final section of the second text.

    The work begins with a blessing in unison and then 2 parts for treble voices. This is followed by a blessing for SAB choir, and then finally the two earlier sections are performed simultaneously.

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Pepe Becker  

Aquarius II

Duration: 01' 45" Year: 2008
for piano

  • Programme Note

    Although the work was not commissioned, it was indirectly ‘requested’ by Ross Carey, who performed Aquarius I in a New Zealand Piano Music concert on 30 March 2008. Aquarius I was written for, and premiered by, Anita van Dijk in 2000, and there was a note at the end of it saying that “Aquarius II may emerge at a later date” – it was in response to Ross’ enquiry about this that I was spurred to write Aquarius II. Both works are dedicated to Anita van Dijk, upon whose birthday numbers they are based.

    Aquarius II is the sequel to Aquarius I.

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David Hamilton  

Count Me the Stars

Duration: 03' 10" Year: 2008
for SSAA choir and guitar

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  • Programme Note

    This short work for treble-voice choir and guitar sets a poem by Australian poet Kylie Johnson. Kylie is a visual artist as well as a published poet. Her website www.paperboatpress.com says:
    During her study of Visual Arts and Film at QUT in Brisbane (1990-1993) Kylie met a group of artists and potters and became part of the group known as Amfora. Amfora held many group shows throughout its 12-year run, of which Kylie was a part of all.

    It was through these years that Kylie also published three books of her poetry: Distant Shoes (1992), forty-eight minus one (1997) and the ivory birds (2000), the poetry book launches also coincided with solo exhibitions of her painting and collage work. In 1996 Kylie set up her business paper boat press, in its early stages creating a boutique greeting card range featuring her own whimsical one or two line poems. This has now grown to include ceramic ornaments, ceramic jewelry, original illustrations and functional ceramic vessels.

    In recent years Kylie has joined forces with a group of Brisbane artists to form the Umbrella Collective. The six women work together towards group shows and sales of their work as well as creating a dialogue and support network for all aspects of their work and creative business.

    Count Me the Stars sets a text taken from her most recent poetry collection of the same name. The poem is untitled, so I used the first line as a title for my setting.

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Hannah Gilmour  

Eloi, Eloi, lama sabachthani?

Duration: 07' 00" Year: 2008
for full orchestra

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David Hamilton  

Full Moon Rhyme

Duration: 03' 20" Year: 2008
for SSA choir and piano

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John Rimmer  

Hammerheads

Duration: 10' 00" Year: 2008
for four pianists playing two pianos

  • Programme Note

    Hammerheads is a double piano duet. It was composed in 2008 for four talented young Nelsonian pianists, Emily Deans, Jennie Verstappen, Natasha Ironside and Holly Tippler who played the piece several times during the year. These pianists are students of acclaimed teacher Mary Ayre who commissioned Hammerheads with funding from Creative New Zealand.

    The work is in 5 sections contrasting slow with fast music and draws some of its pitch material from one chord in Stravinsky’s The Rite of Spring.

    Hammerheads presents ensemble challenges for the performers with tricky rhythmic patterns in the fast sections. Its harmonic language is based primarily on a six-note descending scale heard in the opening bars.

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Pepe Becker  

Hoquetus Sanctus

Duration: 04' 20" Year: 2008
for vocal octet

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  • Instrumentation
    SSAATTBB with clapping and/or hand percussion (stones or wooden clap-sticks)
  • Programme Note

    This work was written as a commission for Baroque Voices, with funding from Creative NZ, to be premiered at the Baroque Voices “Alleluia: a newe work!” concert in May 2008. The concept of the performance is to juxtapose Contemporary New Zealand works with Medieval European ones – and in this case, Hoquetus Sanctus pairs well with Hoquetus David (written by Guillaume de Machaut in the 14th Century), as it explores the idea of hocket, where vocal lines are ‘shared’ between different voices, sometimes jumping from one to another and overlapping each other – however, it can equally well be performed in any choral concert.

    Hoquetus Sanctus is a setting of the Latin Sanctus text for a capella chamber choir or small vocal ensemble.

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Keith Statham  

Landscape No. 1

 Year: 2008
for oboe and string quartet

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Keith Statham  

Landscape No. 2

 Year: 2008
for oboe and string quartet

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David Hamilton  

Matariki

 Year: 2008
for 2 SATB choirs, piano and bells

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  • Programme Note

    Matariki is the Maori name given to a group of stars that rises in the north-east around the end of May each year. This constellation is known traditionally at the Pleiades, and in the ancient world was known from Greece to India. Maori gave names to seven of the stars, and the first moon after the appearance of the stars was celebrated as the Maori New Year. This was a time of feasting (the crops had been gathered and food was plenty), and a time to remember those who had passed away. As with many myths and legends, there are contradictory ideas – some suggest that Matariki is the name of the largest star (with the other stars being her sisters) while others suggest the name refers to the whole cluster.

    Maori mythology named the stars of the night sky “Te Whenua Marama” (the family of light”) – the children of Ranginui the Sky Father and Papatuanuku the Earth Mother. The word Matariki has conflicting origins: some say it is a combination of ‘mata’ (eyes) and ‘Ariki’ (God), while others see it as a combination of ‘mata’ (eyes’ and ‘riki’ (tiny).
    For this work several traditional texts associated with Matariki are used, each of which presents a different facet of Matariki. No traditional music is used in the work although much of the melodic writing uses rhythmic patterns suggestive of traditional waiata. Bell sounds are also used to suggest the seven stars of Matariki.

    Matariki was written for the choir Choralation (Westlake Girls’ and Westlake Boys’ High Schools) and conductor Rowan Johnston.

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