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When the 90th birthday of Betty Somerville was approaching, members of Auckland Choral were asked to sing at a special birthday gathering as a surprise. Betty had been a long-time member of the choir, maintaining a strong active involvement behind the scenes after retiring as a singing member.

In searching for a suitable text for a piece to mark the occasion, I found that almost all birthday poetry fell into one of two categories – it was either tied to a specific age, or was incredibly saccharine and trite. I finally chanced upon Richard Wilbur’s “For K.R. on her Sixtieth Birthday” which contained more general sentiments and wishes. The K.R. of the title is the poet Kathleen Raine, and the reference to William Blake in the poem notes her devotion to that poet’s work.

• David Hamilton: A Birthday Offering - hardcopy score 

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• Hamilton: A Bright Light Still Shines  Year: 2011 

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While the word ‘charm’ is mostly used to mean something pleasing, it can also mean an action thought to have magical power, or the chanting of a magic word or verse – an incantation. It can also be used as a collective noun, usually of birds.

This traditional text in Maori is a plea for the rain to depart and blue skies to appear. Preceding this, I have added several Maori terms for different types of rain – from misty rain through to drenching heavy rain. Rhythms in the work are often suggestive of typical Maori chant and kapahaka rhythms.

“A Charm for Rain: He Tua I Te Rangi” was written for Cantare (Westlake Girls’ High School) and conductor Fiona Wilson.

• David Hamilton: A Charm for Rain: He Tua I Te Rangi - hardcopy score 

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This piece was originally the fifth movement of a short Christmas cycle (“Angels and Shepherds and Wise Men All”) was written in 2012 for the end of year concert by South Auckland Choral Society to be conducted by the composer. The concert included my school choir, St Mary’s Schola, and I was keen to write something that the combined forces (including the soloists) in the concert could sing together.

The cycle doesn’t try to encapsulate the entire Christmas story, but focusses on those characters on the edge of the story – the angels, the shepherds and the wise man. In this piece, the characters who gathered around the infant Jesus are focussed on: the animals, the angels and the shepherds.

• David Hamilton: A Child Lay in a Little Crib - hardcopy score 

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• David Hamilton: A Child Lay in a Little Crib; audio 

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• The Treble Voice Choral Music of David Hamilton Vol. 4  Year: 2013 

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• Chen: A Rainbow; computer-set 

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• Chen: A Rainbow; computer-set 

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• Lange: Agnus Dei; computer set 

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This is the second arrangement made of a song written around 1918 by Erima Maewa Kaihau (1879-1941). It follows on from E moe te ra made in 2007 – both pieces arranged at the request of David Gordon of Diocesan School for Girls. Erima Maewa Kaihau was also involved in the complex gestation of the song Now is the hour.

Akoako o te Rangi is also very much in the late Victorian tradition of ‘parlour ballads’ and owes little to traditional Maori song forms or styles. In fact the rather erratic word underlay of the Maori text suggests that the English version (hardly a translation though of the Maori) may have been te first made.

The text is short although there may have originally been further verses (the printed music, published in 1918, contains just the one verse). It is a love song – the scent of a loved one wafting on the breeze to awaken the sleeping lovelorn singer.

• Hamilton: Akoako o te Rangi; computer-set  Year: 2010 

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A piece which celebrates an anniversary provides a composer with particular challenges in the choice of a text. It should not be so tied to the group or the event that no-one else will want to use the music, yet it needs to acknowledge and celebrate the group’s achievement.

“All This Singing, One Song” was written for GALS (Gay and Lesbian Singers of Auckland) for the choir’s 20th anniversary in 2012. The text comes from the 13th century Persian poet and philosopher Rumi, and consists of several short pieces of his writing on the subject of singing. Most of these encourage the listener to join in with the singing. The music is mostly rhythmic and energetic, with a strong climax at the end where the choir sings the words “Sing loud!”.

Jalal al-Din Muhammad Rumi or Jalal ad-Din Muhammad Balkhi (30 September 1207 – 17 December 1273) was a 13th-century Persian philosopher, theologian, poet, teacher, and Sufi mystic. Also known as Mevlana (Our Guide), Jalaluddin Rumi, but known to the English-speaking world simply as Rumi.

“All This Singing, One Song” was commissioned by GALS (music director: Stephen Bowness), and first performed by the choir on 27 October 2012.

• David Hamilton: All this singing, one song - hardcopy score 

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The title is a line from John Dryden’s Ode for Saint Cecilia’s Day and comes from the end of the first stanza, the 2nd half of which runs as follows:

The tuneful Voice, was heard from high,
Arise! Arise!
Arise ye more than dead!
Then cold, and hot, and moist, and dry,
In order to their stations leap!
And music’s power obey!
And music’s power obey!

Text of the work though is a set of three poems about music, speaking in turn about its personal importance and effect, its use as a lullaby, and its magical and healing properties. The first text is by American poet and writer Marnie McGee who is best known for her children’s books. The second text is by Clemens Brentano, and early nineteenth century German writer of poetry and short stories, who spent much of his later life promoting the Catholic faith. The final text is a sonnet by American poet Elizabeth Bishop who won amongst many awards a Pulitzer Prize, and during 1949-1950 the USA’s poet laureate before spending fifteen years living in Brazil.

And Music’s Power Obey was written at the request of conductor Peter Watts for performance by South Auckland Choral Society.

• Hamilton: And Music's Power Obey; computer-set  Year: 2010 

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St Michael’s Church in Remuera (Auckland ) is one of the finest acoustics in the city for choral music. When I heard Viva Voce was presenting a concert of “heavenly music” there as the choir’s final concert for 2011, I offered to write a new piece. My earliest regularly performed work,“Lux Aeterna was already scheduled for the programme, so I felt this would make a nice comparison of works written 32 years apart. Conductor John Rosser readily agreed to the idea.

Angele Dei is a text traditionally attributed to St Anselm (c.1033-1109) although it is now believed to have been added to his works after his death probably in the 11th or 12th centuries. It is a brief prayer to a guardian angel – one who is charged with protecting against the assaults of demons, that might lead one into sin.

The piece is full of warm rich choral textures, beginning with the women’s voices descending in a scale-like passage which repeats several times against simple tonal chords in the men’s voices. The build to the climax uses textures reminiscent of Renaissance composers, featuring a string of suspensions in the harmony. The work ends quietly with an Amen section and final statement of the title.

David Hamilton

• Hamilton: Angele Dei; computer set  Year: 2011 

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