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Choir: Sopranos, altos, men. Orch: treble wind, treble strings (vlns and vlas), bass instrs, opt brass, 4perc(classroom instrs), pf duet.

• Ritchie A.: Dogwobble and other songs; facsimile 

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• Ritchie A.: Dogwobble and other songs; facsimile 

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3 flutes, 3 clarinets, 2 alto saxophones, 2 tenor saxophones, 3 trumpets, 2 trombones, euphonium, tuba, violoncello (optional), string bass, timpani, percussion I (high conga, low conga, medium tom, low tom), percussion II (high bongo, low bongo, high tom, medium tom), percussion III (tambourine, high woodblock, low woodblock), percussion IV (suspended cymbal, wind chimes, triangle) and percussion V - xylophone (medium sticks), with piano and SATB choir

Based on the simple idea: “If Lake Taupo was a piece of music, what would it sound like?”

This mass musical work, commissioned especially for the ERUPT Lake Taupo Festival 2010 through the SOUNZ Community Commission, takes its inspiration from the people and places of Taupo.

Featuring lyrics submitted by local writers, Moana Ataahua is a spectacular mix of symphonic, choral and percussive elements that erupts into an exciting finale.

• Youens: Moana Ataahua; computer-set 

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• Youens: Moana Ataahua; computer-set 

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212(1)0; 1100; perc., piano; strings

• Tankersley: Sea Shanty - Drunken Sailor; computer-set 

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SSA choir, flute, alto sax, timpani, strings and piano

This short piece was originally the middle section of And Music’s Power Obey written for South Auckland Choral Society in 2010. The text of that work set three poems about music, speaking in turn about its personal importance and effect, its use as a lullaby, and its magical and healing properties. This second text (originally just titled Lullaby) is by Clemens Brentano, an early nineteenth century German writer of poetry and short stories, who spent much of his later life promoting the Catholic faith.

Sing a Whispered Lullaby was re-worked for the senior prizegiving of St Mary’s College, Auckland.

• Hamilton: Sing a Whispered Lullaby; computer-set  Year: 2010 

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flute, oboe/clarinet; 2 horns, 2 trumpets, trombone; vocal; piano/keyboard; violin I, violin II, viola, cellos/basses; rhythm section

• Dorothy Buchanan: Song for the Year of the Child - hardcopy score 

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• Dorothy Buchanan: Song for the Year of the Child - hire set 

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3,0,2,0;0,1,0,0;perc;2 guitars;voice;2 keyboards;2 xyls;strings

Commissioned by the North Canterbury Academy of Music this work is ideal for a massed performance of young performers up to year 9, and is scored for voices, simple orchestral parts and percussion. The text was written by me and tells of life on the Canterbury plains.

• Shepherd: song of the plains; computer-set 

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The basis of this work is the chorale which concludes JS Bach’s cantata No. 99 Was Gott tut, das is wohlgetan (“What God does, is done well”). The idea for the work grew out of the piece composed jointly by the composers at the 1985 Cambridge Summer Music School – a piece using the same chorale. My contribution had been the final section, based on the concluding seven crotchet beats of the original chorale, and it is these ideas which reappear most clearly in this work (particularly in the last section). The complete chorale is only presented at the end of the work, although elements of it are heard throughout.

Well Done, Mister Bach falls into four main sections: fast, fast, slow, fast, and derives its stylistic features from the minimalist ‘school’ of composition – a piece built from small musical motives repeated many times and often only gradually changing or developing. The harmonic material is all derived from the original Bach, with the work being essentially a ‘stretched’ statement of the chorale. Subsequent works of mine to use this include One More Time, Mister Couperin (1986).

The scoring features the leaders of each section as a concertante group, and throughout, the remaining strings (except double basses) are divided into two parts each. In addition to the string orchestra is a small percussion section.

I would like to thank my fellow composers from Cambridge, for although I have not quoted anyone else’s musical ideas directly, something of the spirit of our work (entitled Bach Has Eight Friends to Tea) survives. It is also fitting that the work was composed in 1985 – the tercentenary of the birth of Bach.

The piece was commissioned by, and is dedicated to, the Auckland Youth Orchestra and their conductor at the time, Michael McLellan.

• Hamilton: Well Done, Mr Bach; computer-set 

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• Hamilton: Well Done, Mister Bach; computer-set 

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• Hamilton: Well Done, Mister Bach; computer-set 

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• David Hamilton: Well done Mister Bach 

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