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This short blessing was written for my choir St Mary’s Schola at St Mary’s College. It was composed for use in a performance at mass in St. Patrick’s Cathedral in Auckland.

The text is based on traditional Irish blessing, with a version of the concluding blessing often used in many services added at the end.

David Hamilton

• Hamilton: A Blessing for this Day; computer-set  Year: 2009 

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• The Treble Voice Choral Music of David Hamilton Vol. 3  Year: 2011 

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This piece was arranged upon request from the Auckland Philharmonia Orchestra, for their 2009 ‘APO for Kids’ concerts.

• Audain: Arioso; computer-set 

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• Audain: Arioso; computer-set 

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• Audain: Arioso; computer-set 

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• Audain: Arioso; computer-set 

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Much of my work is a marriage (or balancing act) between the Western art music tradition and my own position in time and place. Along with many forms, I have had a love for sacred choral music from Mediaeval times through to the present, but in not being a Christian, I have felt a reluctance to set text in which I don’t fully believe.

In reading the work of spiritual author, Eckhart Tolle, I have discovered a new connection with biblical texts. Tolle quotes the line “Be still, and know that I am God” in his book A New Earth, as an example of a universal truth that is at the heart of all religions and belief systems. In this text “God” may be seen as the Christian God, an omnipresent spiritual dimension or the universe personified. This line, and the rest of the text, is from Psalm 46. In setting this text I have found an opening into the world of sacred choral music that aligns with my own beliefs.

Anthony Young

• Young, A.: Be Still; computer-set 

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• Young, A.: Be Still; computer-set 

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• Anthony Young: Be Still; audio 

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• Works by Anthony Young 

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A warm jazzy/soul arrangement for male choir.

• Crehan: Blame it on my Youth; computer-set 

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An exciting, positive work for marimba.

This work won first prize in the ‘Tonal 21st Century’ category of the 2009 Classical Marimba League Composition Competition.

• Crehan: Bold Spark; computer-set 

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This piece was written for an old friend of mine who was at that time resident in Japan, and wanted a tune for her flute and guitar duo. The ‘favour’ in question refers to said friend’s valiant attempts to find an urgently-required copy of a piece of sheet music, for me. After I sent her this piece, she RETURN-returned the favour by generously sending me a box of eclectic Japanese confectionery!

Yvette Audain

• Audain: Devuelve El Favor (Returning the Favour) - in C; computer-set 

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• Audain: Devuelve El Favor (Returning the Favour) - in C; computer-set 

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• AUDAIN: Devuelve El Favor (Returning the Favour) - in E flat; computer-set 

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• Audain: Devuelve El Favor (Returning the Favour) - in E flat; computer-set 

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• Audain: Devuelve El Favor (Returning the Favour) - in B flat; computer-set 

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• Audain: Devuelve El Favor (Returning the Favour) - in B flat; computer-set 

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For some reason we never seem to fully escape our formative influences. In this case it is the Dave Brubeck Quartet’s 1959 Time Out album, featuring the smooth, lyrical alto saxophone sound of Paul Desmond, as well as time signatures not yet widely heard by the general public on a jazz recording.

Why Grooves Unspoken? Because we do not speak music, we play (or sing) it.

• Audain: Grooves Unspoken; tenor or soprano saxophone version; computer-set 

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• Audain: Grooves Unspoke; tenor or soprano saxophone version; computer-set 

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• Audain: Grooves Unspoken; alto or baritone version; computer-set 

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• Audain: Grooves Unspoken; alto or baritone version; computer-set 

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• Yvette Audain: Grooves Unspoken 

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Heedless Conclusions was written for The Souls, January 2009, and the text used is from the poem of the same name by David Squire. It is a mix of something old and something new, a mix which I had a lot of fun with. It was written with the Auckland University Clocktower as the venue in mind, so there are plenty of moments where the acoustic can shine.

A lot of the poem’s meaning sits between the lines, and I still unravel it differently on each reading. Overall it is a journey through despair, discovery and triumph.

It was premiered as part of the Auckland Fringe Festival at the Auckland University Clocktower, Sunday 1st March, 2009.

• Youens: Heedless Conclusions; computer-set 

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• Youens: Heedless Conclusions; computer-set 

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Written for the Auckland Philharmonia Education concerts, this piece demonstrates the different sections of the orchestra.

After a short introduction played by the full orchestra, each of the sections of the orchestra take turns to play the main theme. The strings begin playing both with the bow (arco) and plucking (pizzicato), followed by the woodwind section which begins with the whole woodwind section and then the double reed instruments, the oboes and bassoons, which have a section by themselves. The brass then take over and finally the percussion lead the orchestra back into a reprise of the opening section to conclude.

• Adams, C.: Introducing the Orchestra; computer-set 

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• Adams, C.: Introducing the Orchestra; computer-set 

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A short one movement work for alto saxophone comminised by Mary-Jane Malloch.

• van den Broek: Sunny; computer-set 

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• van den Broek: Sunny; computer-set 

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• Alex van den Broek: Sunny 

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