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The text of this piece is the simple story of the thoughts of an astronaut as he prepares to head off into outer space. He seems happy to be heading off and leaving all behind him: “you needn’t think I’ll give a damn for you or what you are”.

English poet Norman Nicholson (1914-1987) was not associated with any particular poetic movement of the twentieth century, and his work is noted for its simplicity of language and concern with matters of everyday life. Much of his poetry focussed on the mining and quarrying industries of the are in which he lived, and also religion and faith.

• Hamilton: Off to Outer Space Tomorrow Morning; computer-set  Year: 2009 

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It had long been a desire of mine to write a cycle of choral pieces on the subject of gay love. When Stephen Bowness, conductor of Auckland’s Gay and Lesbian Singers, indicated he would be happy to have something new for their 2004 concert on the theme of love, I was delighted to take up the challenge. Originally I had intended to write for the whole choir, but the very gender specific nature of much of the poetry, made me decide to write for the men’s voices only (something the conductor was keen on anyway). The texts are all drawn from ‘The Penguin Book of Homosexual Verse’ (edited by Stephen Coote) published more than 20 years ago. It contains a wide selection of material ranging from early Greek and Latin texts in translation, to major contemporary poets. Much gay poetry has a bittersweet quality, and much from before the late 20th century is quite depressing, although occasional gems do celebrate the subject quite openly. My selection is obviously a personal one, and designed to cover both the more serious as well as the light-hearted aspects of gay love. The texts are mainly from writers active in the late nineteenth and early twentieth centuries. The one exception is the final text which comes from Christopher Isherwood, best known for writing the original book which gave rise to the musical ‘Cabaret’. The first piece, ‘A Message’, sets a text which was written to Oscar Wilde while he was in prison. The writer wishes he could ease Wilde’s burden by providing strength and ‘profound repose’. The second piece ‘Bored’ (subtitled ‘At a London Music’) tells of a society musical evening, although the writer’s attention is elsewhere. The third and briefest piece tells of the writer taking Gertie Green out to tea, and the consequences of her flirtation with another man. The fourth piece, ‘Because I liked you better’ tells of the all too common problem of falling in love with someone (presumably) straight. Here the writer seems to be speaking from beyond the grave. Finally, in ‘On His Queerness’, a young man is recommended to see the sights of an area known as the Roman Camp, and specifically the Aquarium there. However it seems that more than fish were to be found at the Aquarium!

• Hamilton: On His Queerness; computer-set 

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• Hamilton: On His Queerness; computer-set 

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• Crehan: Storm (in a little bay); computer-set 

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A Choral work which tells of the traumas and dramas of a driving lesson. The central character, ‘Lydia’ is entirely fictitious!

• Parsons: The Driving Lesson; computer-set 

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• Parsons: The Driving Lesson; computer-set 

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This short piece sets a text which appears to relate to South Africa in time of apartheid. There are references to the ‘veldt’ and a clear distinction between the life expectation of whites and blacks. The story is a simple one, a small black baby is found by passing white people, taken home and grows up amongst his adoptive people. The moral of the story is that ‘…things go deeper than white or black’.

The True History of Resurrection Jack was written for Claire Caldwell and the Dilworth Foundation Singers of Dilworth School in Auckland.

• Hamilton: The True History of Resurrection Jack; computer-set 

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• Hamilton: The True History of Resurrection Jack; computer-set 

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The texts for these three pieces all come from ‘The Oxford Treasury of Time Poems’, hence the title of the short cycle. They were prompted by a request for something fairly straightforward and quick to learn for the choir of Marlborough Boys’ College.

The first piece of the cycle was written for that choir, and I decided to complete a short set of pieces on the subject of time. ‘Old Man Know-All’ tells of someone who won’t listen and thinks he knows everything, leading to his demise. The text is a traditional one, probably American in origin. The first verse presents the main melody without any other vocal accompaniment, and thereafter a number of ostinato-like patterns feature as accompaniment. The piece ends with a short canon for the voices. The piano part has an insistent bass line setting off some more jazzy rhythms in the treble.

The second piece sets a short poem by Christina Rossetti. Here the voices are unaccompanied. It presents the thoughts of someone looking to a point beyond their death, and the fact that he or she will no longer be concerned with the sights and sounds of life.

The third piece sets an anonymous text about the Judgement Day. Each day of the week is presented with an associated climatic event: a great storm on Monday, the freezing on Tuesday, the wind on Wednesday, the rain on Thursday, a dark cloud on Friday, and finally the great sea on Saturday. The music uses a vigorous gospel-spiritual style.

• Hamilton: Time Pieces; computer-set 

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• Hamilton: Time Pieces; computer-set 

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• Hamilton: Time Pieces; computer-set 

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• Childs, D.N.: Weep No More; computer-set 

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• Childs: Weep No More 

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