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Maurice Faulknor  

3 by 3

Duration: 06' 00" Year: 2005
for piano

Jenny McLeod  

A baby lying

Duration: 01' 30" Year: 2008
for SA choir and piano

Jenny McLeod  

A baby lying

Duration: 01' 30" Year: 2008
for SA choir and piano with optional men's part

David Hamilton  

A Blessing for Saint Kentigern

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

  • 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.

  • Availability

David Hamilton  

A Blessing for this Day

Duration: 02' 00" Year: 2009
for two-part treble voices and piano

Helen Caskie  

A Cat's World

Duration: 04' 00" Year: 1991
for young students of piano

Yvette Audain  

A Charleston Kick With Steel Caps – alto sax quartet version

Duration: 06' 00" Year: 2011
for four alto saxophones

David Hamilton  

A la Carte

 Year: 2002
a gastronomical cycle for SATB choir and piano

  • Programme Note

    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.

  • Availability

Stuart Douglas  

A Melancholy Song

Duration: 01' 00" Year: 2003
for SSAA and piano

Jodi Chen  

A message to Han Cho

Duration: 06' 06" Year: 2003
for orchestra

  • Instrumentation
    1 piccolo, 2 flutes, 2 oboes, 2 clarinets in B flat, 1 bass clarinet in B flat, 2 bassoons, 4 French horns in F, 2 trumpets in C, 2 trombones, 1 bass trombone, timpani, percussion 1: suspended cymbal, percussion 2: triangle, harp, vibraphone, strings
  • Programme Note

    A message to Han Cho (the Yangzhou magistrate) for orchestra was inspired by the Chinese poem, A message to Han Cho by Du Mu (803-852AD, China) in the Chinese Tang dynasty. In this poem Du Mu expresses the sadness of the magistrate yearned for the day to return to his distant love. This orchestral work contains musical ideas influenced by the Eastern culture and utilising Western orchestration to imitate the sound of Chinese instruments (Chinese zither and vertical bamboo flute) to purposely maintain the cultural connection with the original tenor of the poem. To achieve this synthesis I experimented with the pronunciation of the poem in Mandarin, and then compose the melodic lines to suit the four-line poem which became the theme of the music. The image of a fair lady plays the flute under the moon on the Twenty-Four Bridges is a traditional Chinese painting specially selected for this particular poem.

    青山隱隱水迢迢, From mist the green hills emerge and afar the river flows,
    秋盡江南草木凋. grass still grows in Jiangnan, yet the end of fall is close.
    二十四橋明月夜, Over the Twenty-Four Bridges the bright moon glows,
    玉人何處教吹簫. where the fair lady teaches the flute no one knows.

  • Availability