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Radha Sahar (née Wardrop)  

A Celtic Christmas

Duration: 03' 00" Year: 2000
for unison/SATB choir and keyboard or guitar accompaniment

Rosemary Russell  

A Wellington Christmas or Christmas Eve Reflections

Duration: 06' 00" Year: 2000
for three part treble choir with SATB choir and finger cymbals

  • Programme Note

    In the deepness of the night before Christmas, children dream of exciting and wondrous things: so do adults, but they are also fraught with arrangements and planning for the big day. a call for simplicity and remembering the loving and gifting nature of Christmas. This piece is performed “in the round” i.e. the adult choir encircles the audience and the children stand up the central aisle. The adult choir gradually moves around the audience and sings at times in smaller groupings. The audience does not know where the sound will come from next. The children need to be able to hold 3 simple parts. Finger cymbals are used to indicate stars and nocturnal animals create an interesting opening. It is depicts a New Zealand Christmas experience.

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David Gordon  

Away in a Manger

Duration: 03' 00" Year: 1995
For unison choir and piano or organ; violin, oboe or other C instrument.

Radha Sahar (née Wardrop)  

Carols by Candlelight

Duration: 03' 00" Year: 2002
for unison/SATB choir with or without accompaniment

Radha Sahar (née Wardrop)  

Christmas Bells

Duration: 03' 00" Year: 2002
for unison voices and accompaniment

Douglas Mews  

God Defend New Zealand


anthem for two-part school choir with piano

Jenny McLeod  

Hymn for the Lady

Duration: 06' 00" Year: 1986
for choir and small choir, flute, piano and 6-8 percussion

Jenny McLeod  

Indigo I

Duration: 04' 30" Year: 1983
for SATB choir and bagpipe

Jenny McLeod  

Kumara, E Tupu! (Grow Kumara!)

 Year: 1997
for three part or four part choir, percussion with improvised drum part and optional piano accompaniment

David Hamilton  

Matariki

 Year: 2008
for 2 SATB choirs, piano and bells

  • Programme Note

    Matariki is the Maori name given to a group of stars that rises in the north-east around the end of May each year. This constellation is known traditionally at the Pleiades, and in the ancient world was known from Greece to India. Maori gave names to seven of the stars, and the first moon after the appearance of the stars was celebrated as the Maori New Year. This was a time of feasting (the crops had been gathered and food was plenty), and a time to remember those who had passed away. As with many myths and legends, there are contradictory ideas – some suggest that Matariki is the name of the largest star (with the other stars being her sisters) while others suggest the name refers to the whole cluster.

    Maori mythology named the stars of the night sky “Te Whenua Marama” (the family of light”) – the children of Ranginui the Sky Father and Papatuanuku the Earth Mother. The word Matariki has conflicting origins: some say it is a combination of ‘mata’ (eyes) and ‘Ariki’ (God), while others see it as a combination of ‘mata’ (eyes’ and ‘riki’ (tiny).
    For this work several traditional texts associated with Matariki are used, each of which presents a different facet of Matariki. No traditional music is used in the work although much of the melodic writing uses rhythmic patterns suggestive of traditional waiata. Bell sounds are also used to suggest the seven stars of Matariki.

    Matariki was written for the choir Choralation (Westlake Girls’ and Westlake Boys’ High Schools) and conductor Rowan Johnston.

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