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Colin Gibson  

Alleluia Aotearoa!


for SATB choir

Ray Twomey  

Ascension (Opus 18-V2)

Duration: 04' 00" Year: 1998
arrangement for high voice duo and piano

  • Programme Note

    Inspired by these words…

    “And if I go, while you’re still here Know that I live on, vibrating to a different measure, behind a thin veil you cannot see through. You will not see me, so you must have faith. I wait for the time when we can soar together again, both aware of each other. Until then, live your life to its fullest. And when you need me, Just whisper my name in your heart, I will be there.”

    Colleen Corah Hitchcock, 1989

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Tony Ryan  

Cris de Coeur

Duration: 12' 00" Year: 1990
A cycle of six duets for two female voices with piano

  • Programme Note

    A charming sequence of 6 songs for two voices and piano, each of the poems (by John Summers) is a personal observation of the human condition touched by humour and humanity and prompted by the intrusion of nature: birds, trees or cats. The music is ever playful with the two voices combining, dovetailing and interweaving like the two kittens of the third song, a small Cri de Coeur from which the cycle takes its title.

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Colin Gibson  

Cup 'a Tea for Anyone?

 Year: 2001
A two-part song in which tea and coffee drinkers display their friendly rivalry

Kit Powell  

Father's Telescope

Duration: 15' 00" Year: 1989
a playful music theatre piece for singer, speaker and tape about power and submission

Bryony Jagger  

La Nuit

Duration: 04' 30" Year: 2007
for alto, tenor and piano

Alan Starrett  

Love is Strong

Duration: 03' 00" Year: 1983
For Mezzo, Baritone and Piano

David Farquhar  

Palinthalamion

Duration: 05' 00" Year: 1994
for two equal voices or instruments

Clive Cockburn  

Patanio's Song

 Year: 2002
for vocal duo

Bruce Baker  

Prayer for Wholeness

 Year: 1991
for vocal duet with organ

  • Programme Note

    This setting of part of the Liturgy of the Approach is dedicated to the Saint Matthew’s Singers, for whom it was written. Thanks are expressed to the Auckland Community Church, for supplying the text. Its original inspiration came from part of a prayer by Janet Morley.

    The piece is written in the style of the French Romantic tradition, with one or two departures into a more chromatic or discordant style.

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