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These pieces are largely arrangements of David Hamilton’s set of songs Garbage Delight. The pieces present a slightly jaundiced or darker view of eating and food, albeit in a humorous way. The poems were written for young people, and the original songs were aimed at the same age group – however they are fun for people of any age!

The first song O Sliver of Liver is a heartfelt plea for a dreaded food to go away. Battle-hymn of the Ice-cream Connoisseur is a short poem about the lengths one goes to in order to enjoy a favourite food. The third song, for just the women’s voices, is a variant of the well-known nursery rhyme Mary Had a Little Lamb. The fourth of the cycle, I Ate Too Much, details the number of foods that have been stuffed in, but just maybe there’s room for something extra after the main course! The final piece, Garbage Delight, never actually tells us just what the food of the title is, but it’s obviously something special – better than jelly, ice-cream, candy or even Toffee Surprise.

The poems are by Myra Cohn Livingston ( O Sliver of Liver), Adrian Mitchell ( Battle-hymn of the Ice-cream Connoisseur), Jack Prelutsky ( I Ate Too Much), and Dennis Lee ( Garbage Delight). Mary Had a Little Lamb is by an anonymous writer.

A la Carte was arranged at the request of conductor Julie Jack-Gough for her choir Hamilton Chorale. The first and fourth pieces had already been arranged for choir in 2002, but were revised for this cycle.

• Hamilton: A la Carte; computer-set  Year: 2009 

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Violin Concerto in F takes its themes and forms from folk song and dance music of old Europe. The first movement is an extended recasting of the classic Scottish Ballad _Wild Mountain Thyme". After an extended introduction that states the melody of the ballad, the music accelerates and tightens into a jig. Throughout the piece, tension is maintained between the free-flowing natural melody and the choreographic energy of 6/8 time, even during the long cadenza. A brief episode from the ensemble brings the music back to the mood of the opening before finishing on a high, unexpected chord.

The second movement, entitled Reverence, is a synthesis of Balkan choral rhythms and melodies, with shifting bars of 7/8, 3/8, and 5/8. The solo part teams up with principal first and second violin soloists in central episodes reminiscent of choral drone singing of Bulgaria and Macedonia. The title refers to the respect a ballet class shows to their pianist at the end of their time together, and in a greater way the honor we show to those who help to bring our lives meaning.

Brawl, the title of the first movement, refers not to a fistfight but a round dance of the Renaissance that was popular in England and France in which participants play “follow the leader.” This dance may be the ancient ancestor of hoedown music, to which it bears a strong resemblance. The opening violin solo is derived from a tune of the great French lutenist Robert Ballard, and is answered by a raucous, offbeat countermelody in the strings. The scope of the rhythmic jousting touches on many disparate styles, including spy movie music and a trace of heavy metal before returning to the reel-and-drone of the beginning.

• Goss: Concerto in F; computer-set 

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• Goss: Concerto in F; computer-set 

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• Goss: Concerto in F; computer-set 

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• Thomas Goss: Concerto in F 

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Invisible Waves, inspired by the Orewa Beach in Auckland, imitates the evening sea waves, sound of the seagulls accompany the sunset. The melodic material derives from a set of four-note A, G#, F, and D. The ascending scale-like motif appears several times to imitate the flow of sea waves.

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A cheeky little jazzy piece about how everyone is looking for someone to have fun with. Written for SATB ensemble with vocal sounds and finger clicks, it has a swing feel with some scat-like passages in triplets. It would suit choralography and added humorous actions.

• Russell: Lookin'; computer set 

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A warm long lyrical melody begins in unison. Over the course of 3 verses the tune and accompanying figures are passed around. It finishes Maestoso. The soft refrain of Blessed o blessed indicates Mary relationship with her Lord. The rhythmic impulse varies throughout between 6/8 and 3/4. Whilst harmonically reasonably straight forward, the piece presents good tonal and blending challenges for a women’s ensemble. The piano part can be played as written or embellished. Useful as an anthem or contemporary art song. Ideal for The Big Sing.

• Russell: Magnificat; computer set 

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This group of songs for young performers returns to a topic close to most people’s hearts: food! Following on from the sets “Just Desserts” and “Garbage Delight” these five songs present a humorous and at times silly look at the subject. The first song sings the praises of rat as a lunchtime dish, and is one of two settings of the American poet Jack Prelutsky in this set. His poetry has been a regular source for my vocal settings for several years, and his work always abounds in humour and a slightly skewed view of life. The second song warns of the potential dangers of dining with a pig and its unpredictable table manners. The third song, the briefest of the set, gives another take on the story of Mary who “had a little lamb”. The fourth song (the other Prelutsky text) tells of the joys of making fudge, and the potential for making a mess at the same time. The final song is about pie-making, but including some rather unorthodox ingredients. These songs are designed for young singers and use texts specifically written with young people in mind. The piano accompaniments are relatively simple. The pieces can be performed by solo voices or chorally in unison.

• Hamilton: Out to Lunch!; computer-set 

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A child’s piano piece for cat lovers. Grades 1 – 2.

• Caskie: Petite Piece; computer-set 

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Originally written for SSA choir and piano, this work was later re-arranged by the composer for SSATB choir and piano in 2003 Robert Aburn and the choristers of the Christ’s College Chapel Choir.

• Richard Oswin: Sanctus (SATB version) - hardcopy score 

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Originally written for SSA choir and piano, this work was later re-arranged by the composer for SSATB choir and piano in 2008 for Andrew Withington and the New Zealand Secondary Students’ Choir.

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Sonatine – Dialogue between Wind and Snow was written in December of 2002. This piece was meant to be a sister piece of a much earlier miniature called Dawn (1994). But as it was finished and performed, I thought it stood on its own quite well. A tonal and more conventional style was used in order to fit the two pieces together.

This piece has a carefree, fresh, and uncomplicated character. The musical ideas are often presented in polyphonic textures to give a sense of dialogue. I had a good time writing it and it was finished quite quickly. The winter of 2002 was exceptionally snowy and windy in Cincinnati where I was residing at the time, and some of the ideas came to me while I was watching the snow through the window.

This work exists in 2 versions, one for flute and piano, and another for violin and piano. I have performed both versions with two exceptional performers: the Russian flutist Alexander Viazovtsev and violinist Yang Liu.

• Gao Ping: Sonatine for flute and piano "Dialogue between wind and snow" - downloadable PDF 

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• Adrianna Lis: Rozmowa / Dialogue  Year: 2012 

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