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A baby lying is No. 4 of the ‘Five Carols for 3 and 4 Parts’, which were written so as to be performable in more than one choral combination, for example, for women’s voices only with an optional part for men. Along with No. 3, Deep in the forest, those two carols are the darker pair of the set. However the numbering is no indication of performance order, where the five carols are being sung together as a group. In this case the following order is suggested: Nos. 2, 3, 5, 4, 1.

• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: A baby lying; computer-set 

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• McLeod: A baby lying; computer-set 

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A baby lying is No. 4 of The ‘Five Carols for 3 and 4 Parts’, which were written so as to be performable in more than one choral combination, for example, for women’s voices only with an optional part for men. Along with No. 3 Deep in the forest, those two carols are the darker pair of the set. However the numbering is no indication of performance order, where the five carols are being sung together as a group. In this case the following order is suggested: Nos. 2, 3, 5, 4, 1.

• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: A baby lying; computer-set 

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Although the work was not commissioned, it was indirectly ‘requested’ by Ross Carey, who performed Aquarius I in a New Zealand Piano Music concert on 30 March 2008. Aquarius I was written for, and premiered by, Anita van Dijk in 2000, and there was a note at the end of it saying that “Aquarius II may emerge at a later date” – it was in response to Ross’ enquiry about this that I was spurred to write Aquarius II. Both works are dedicated to Anita van Dijk, upon whose birthday numbers they are based.

Aquarius II is the sequel to Aquarius I.

• Becker: Aquarius II; computer-set 

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• Baroque Voices: Brother Sun, Sister Moon  Year: 2011 

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When Auckland Choral was asked to sing at the funeral of a highly regarded and long-standing member of the choir, I offered to compose something special for the service. It needed to be a piece that could be quickly learnt. Blessing was the result. The text is by Wellington-based poet Anne Powell who is a member of the Catholic order of the Cenacle Sisters.

Blessing is a short poem of healing for those “…who walk the earth”, and draws on images of the natural world – the light, the sea, and the wind. The piece is dedicated to the memory of Peter Gibbons, who particularly enjoyed the outdoors.

• David Hamilton: Blessing - hardcopy score 

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Cat in the Dark was commissioned by The North Canterbury Academy of Music for performance in their Music Quarter Festival, in Rangiora, 2008. It was written for massed children’s choir in unison and 2 parts. It is a setting of a poem by NZ author Margaret Mahy. The final verse also includes a short ‘round’ in 3 parts. There are also two different instrumental accompaniments: one for piano and clarinet in B flat, and one for piano alone. The song may be transposed to suit the requirements of the choir.

• Ritchie A.: Cat in the Dark; computer-set 

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• Ritchie, A.: Cat in the Dark; computer-set 

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• Ritchie, A.: Cat in the Dark; computer-set 

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Cat in the Dark was commissioned by The North Canterbury Academy of Music for performance in their Music Quarter Festival, in Rangiora, 2008. It was written for massed children’s choir in unison and 2 parts. It is a setting of a poem by NZ author Margaret Mahy. The final verse also includes a short ‘round’ in 3 parts. There are also two different instrumental accompaniments: one for piano and clarinet in B flat, and one for piano alone. The song may be transposed to suit the requirements of the choir.

• Ritchie, A.: Cat in the Dark; computer-set 

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• Ritchie, A.: Cat in the Dark; computer-set 

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This short work for treble-voice choir and guitar sets a poem by Australian poet Kylie Johnson. Kylie is a visual artist as well as a published poet. Her website www.paperboatpress.com says:
During her study of Visual Arts and Film at QUT in Brisbane (1990-1993) Kylie met a group of artists and potters and became part of the group known as Amfora. Amfora held many group shows throughout its 12-year run, of which Kylie was a part of all.

It was through these years that Kylie also published three books of her poetry: Distant Shoes (1992), forty-eight minus one (1997) and the ivory birds (2000), the poetry book launches also coincided with solo exhibitions of her painting and collage work. In 1996 Kylie set up her business paper boat press, in its early stages creating a boutique greeting card range featuring her own whimsical one or two line poems. This has now grown to include ceramic ornaments, ceramic jewelry, original illustrations and functional ceramic vessels.

In recent years Kylie has joined forces with a group of Brisbane artists to form the Umbrella Collective. The six women work together towards group shows and sales of their work as well as creating a dialogue and support network for all aspects of their work and creative business.

Count Me the Stars sets a text taken from her most recent poetry collection of the same name. The poem is untitled, so I used the first line as a title for my setting.

• David Hamilton: Count Me the Stars - hardcopy score 

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• David Hamilton: Count Me the Stars; audio 

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• David Hamilton: Count me the Stars; video 

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

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Deep in the forest is No. 3 of The ‘Five Carols for 3 and 4 Parts’, which were written so as to be performable in more than one choral combination, for example, for women’s voices only with an optional part for men. Along with No. 4 A baby lying, those two carols are the darker pair of the set. However the numbering is no indication of performance order, where the five carols are being sung together as a group. In this case the following order is suggested: Nos. 2, 3, 5, 4, 1.

• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Deep in the forest; computer-set 

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• McLeod: Deep in the forest; computer-set 

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Deep in the forest is No. 3 of the ‘Five Carols for 3 and 4 Parts’, which were written so as to be performable in more than one choral combination, for example, for women’s voices only with an optional part for men. Along with No. 4, A baby lying, those two carols are the darker pair of the set. However the numbering is no indication of performance order, where the five carols are being sung together as a group. In this case the following order is suggested: Nos. 2, 3, 5, 4, 1.

• McLeod: Five Carols for 3 and 4 Parts; computer-set 

  Full score | Pdf - computer set
  
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• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Deep in the forest; computer-set 

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• McLeod: Deep in the forest; computer-set 

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This fanfare is dedicated to Sir Barry Curtis, with grateful thanks for his many years of support for the Manukau City Symphony Orchestra. The first thirty seconds refer back to the opening of The Journey, written for the opening concert at this Genesis Theatre, which has since become home for the orchestra. The piece then moves into a celebratory fanfare, with the opening melody reappearing and merging with the fanfare at the end.

Spirit Breathe
One into many
In the hush the first hint of a breeze
Slowly the rim of the world lightens
Dull red blazing to white gold.

From The Journey, Tessa Stephens

• Holmes: Fanfare for Manukau; computer-set 

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• Holmes: Fanfare for Manukau; computer-set 

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