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Dorothy Ker  

and the rain...

Duration: 10' 00" Year: 1991
for double SATB choir

Kit Powell  

Dies Irae

Duration: 10' 00" Year: 1995
For children's (or women's) voices and piano

Anthony Ritchie  

Dogwobble and other Songs

Duration: 11' 00" Year: 1990
songs for mixed SAB choir and flexible instrumental ensemble

Dorothy Buchanan  

Hinemoa and Tutanekai - a suite for Youth Orchestra

Duration: 10' 00" Year: 1985
suite for youth orchestra with girls' choir

Felicity Williams  

Psalm of Stars

Duration: 11' 00" Year: 1993
for children's choir, with piccolo, percussion and piano accompaniment

  • Programme Note

    I was Composer-in-residence at Elmwood Normal School and and in mind to write a cantata for the massed choirs there. I was searching for a subject that would capture both my imagination and that of the children for whom it was to be written. My father is a scientist and the conversation he mentioned that pulsars (rapidly spinning, extremely dense stars) emit electromagnetic waves. When these waves are fed through a household radio set, part of the wave reproduces as an audible tone. A PhD research student working with pulsars, who also had an interest in music, wrote out the tones of various pulsars. I found this intriguing and promptly decided to use the theme of astronomy for the proposed work. To my amazement, when my father showed me the pulsar music written out on a treble and bass stave, the audible tones were clustered around an E major chord with some additional notes added. Thus Psalm of Stars came into being. These 13 notes became the germinal idea on which the whole work was based.

  • Availability

Anthony Ritchie  

Songs Just For You

Duration: 10' 00" Year: 1988
for 1-3 part female choir and piano

Eve de Castro-Robinson  

These arms to hold you

Duration: 12' 00" Year: 2007
for children's voices and orchestra

Maria Grenfell  

Voyage: Antarctica

Duration: 10' 00" Year: 1992
for SAB choir, massed orchestra, wind, recorder and percussion ensembles

  • Instrumentation
    Descant, treble, tenor and bass recorders; flutes,oboes, bassoons, horns, trumpets, trombones, alto and tenor saxophones; percussion (xylophone, glock, chimes, triangle, woodblock, bass drum, snare drum, cymbals), timpani; strings
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David Hamilton  

Well done, Mister Bach

Duration: 12' 00" Year: 1985, r. 2008
for string orchestra with percussion and optional SATB choir

  • Programme Note

    The basis of this work is the chorale which concludes JS Bach’s cantata No. 99 Was Gott tut, das is wohlgetan (“What God does, is done well”). The idea for the work grew out of the piece composed jointly by the composers at the 1985 Cambridge Summer Music School – a piece using the same chorale. My contribution had been the final section, based on the concluding seven crotchet beats of the original chorale, and it is these ideas which reappear most clearly in this work (particularly in the last section). The complete chorale is only presented at the end of the work, although elements of it are heard throughout.

    Well Done, Mister Bach falls into four main sections: fast, fast, slow, fast, and derives its stylistic features from the minimalist ‘school’ of composition – a piece built from small musical motives repeated many times and often only gradually changing or developing. The harmonic material is all derived from the original Bach, with the work being essentially a ‘stretched’ statement of the chorale. Subsequent works of mine to use this include One More Time, Mister Couperin (1986).

    The scoring features the leaders of each section as a concertante group, and throughout, the remaining strings (except double basses) are divided into two parts each. In addition to the string orchestra is a small percussion section.

    I would like to thank my fellow composers from Cambridge, for although I have not quoted anyone else’s musical ideas directly, something of the spirit of our work (entitled Bach Has Eight Friends to Tea) survives. It is also fitting that the work was composed in 1985 – the tercentenary of the birth of Bach.

    The piece was commissioned by, and is dedicated to, the Auckland Youth Orchestra and their conductor at the time, Michael McLellan.

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