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This work is a cantata for soprano and tenor soloists, SATB choir, flute, cello and organ. The texts are drawn from Psalm 22, verses 1 to 11, and Psalm 31, verses 9 to 14 interspersed with two poems by Hone Tuwhare, Nocturne and A Disciple Dreams. The work closes with a gentle setting of the prayer Our Father.

• Hulford: Cantata: A Disciple Dreams; facsimile 

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• Hulford: Cantata: A Disciple Dreams; facsimile 

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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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• Holmes: Hodie Christus Natus Est; facsimile 

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Low Tide – Aramoana is a setting of a poem by Cilla McQueen, and is used with her kind permission. The piece, written for large choir and a small brass ensemble, is an evocation of an estuary at the turn of the tide. Although the poem itself describes Aramoana at the mouth of Otago harbour (significant at the time because of the threat of the aluminium smelter that, because of the strength of local protest, was in fact not built), for the composer it was the estuary where the Ruakaka river meets the sea south of Whangarei that was significant.

• Whitehead: Low Tide Aramoana; computer set 

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• Whitehead: Low Tide Aramoana; facsimile 

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• Buchanan: Magnificat; facsimile 

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• Buchanan: Magnificat; facsimile 

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Inspired by sparkling waters of Tasman Bay Nelson, this choral work (SSAATB) was originally composed with flute accompaniment, which has been substituted in performances by the Shakuhachi (traditional Japanese flute) and also the Koauau (traditional Maori flute). There are recordings of Pounamu with each of these flutes. The piece’s choral texture uses Maori vowel sounds and a text which is a whakatauki (proverb) from the Waikato region.

• Helen Fisher: Pounamu (SOUNZwrite) - hardcopy study score  Year: 1997 

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• Helen Fisher: Pounamu - hardcopy vocal score  Year: 1997 

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• Helen Fisher: Pounamu - hardcopy score & part  Year: 1997 

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• Pounamu 

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• New Zealand Choral Music  Year: 1998 

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Saouah! is a nightscape – sounds having the fleet and fluid disembodied quality of sounds overheard at night, snatches of human melody, clusters of close pitches with the hazy quality of sounds on the threshold of hearing. Separating the groups of singers allows me to play with sound as movement, to send syllables darting across the space, or circling and reversing direction.


Sound changes, not always predictably, as it travels across water, which interests me very much, and at first I planned to literally move the groups of singers around, to have them glide, silently changing position. But there seemed much to explore simply in designing paths for the sounds to travel from group to group, without complicating things with a choreography of boats.

Many of the words used in the text I invented for their sonic properties. The title derives from the onomatopoeic Samoan words which describes a speeding car’s swoosh – saoasaoa.

Annea Lockwood

• Lockwood: Saouah!; computer-set 

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This choral work was commissioned by Auckland Choral Society and was one the composer’s earlier works to consciously employ minimalist techniques. An exuberant work it includes a mixed-voice choir (SAATBB) with two semi-choruses (SSA and SAB) with accompaniment for organ, piano and percussion.

• Hamilton: Te Deum; facsimile 

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four choruses for SATB choir and 6 percussionists in five movements to settings of Maori poetry Five movements, settings of Maori poetry

• Powell: The Ever-Circling Light; facsimile 

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• Powell: The Ever-Circling Light; facsimile 

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Scored for two SSATB choirs with two homs, this work sets a poem by Miguel de Unamuno in Spanish. This work has been performed in Australia, England and the USA, as well as throughout New Zealand.

It is a setting of a short poem by the Spanish poet Miguel de Unamuno (1864-1936) and begins by setting the text in a fragmentary manner, choosing single key words from the poem: canta (singing), luna (moon), sosegada (lulling), blanca (white), and sola (alone). Throughout, I have sought to evoke a mood of stillness and calm (except at the two main climaxes), and much of the writing consists of simple diatonic chords alternating between the two choirs. The work ends, as it began, alternating the words ‘canta’ and ‘luna’.

The unusual scoring came about through my friendship with a fine horn player and singer – a flippant comment about unorthodox combinations of forces (although I have heard one other work for horn and choir) providing the germ of idea which eventually did bear fruit.

The Moon is Silently Singing is one of my most widely preformed works internationally, having been heard in Australia, Canada, Germany, England and the USA.

• Hamilton: The Moon is Silently Singing; computer-set 

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• Hamilton: The Moon is Silently Singing; computer-set 

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• Hamilton: The Moon is Silently Singing; computer-set  Year: 2004 

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• New Zealand National Youth Choir: Te Roopu Rangatahi Waiata o Aotea Roa  Year: 1992 

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• The Moon is Silently Singing  Year: 1994 

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

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