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Anzacs Remembered is a setting of a verse from For the Fallen by Laurence Binyon spoken each 6pm at RSA’s throughout Australia and New Zealand.

They shall grow not old, as we that are left grow old:
Age shall not weary them, nor the years condemn.
At the going down of the sun and in the morning
We will remember them.
- Laurence Binyon

• Rimmer: Anzacs Remembered; computer-set 

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• Rimmer: Anzacs Remembered; computer-set 

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• Rimmer: Anzacs Remembered; computer-set 

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• Rimmer: Anzacs Remembered; computer-set 

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piccolo, alto flute/flute, 2 oboes, clarinet in Bb, bass clarinet, 2 bassoons, harp, vibraphone, strings.

The worship of the Celtic Goddess Sulis and the Roman Goddess Minerva gave rise to the cult of Sul-Minerva at the ancient springs situated in Southwest England. A visit to the site summons up a variety of underground imaginings – dark, steaming pools, slowly dripping water and faster running streams, ancient supplications, sacrifice, curses and prayers, fertility and healing.

• Leonie Holmes: Aquae Sulis - hire set 

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• Chris Archer: Aroha - hardcopy score 

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• Chris Archer: Aroha - downloadable PDF 

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• The Jubilate Singers: Southern Landscapes  Year: 2011 

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solo cor anglais, flute, horn in F, strings

In 2010, I co-wrote The Lover’s Knot with playwright Renee Liang as part of the 2010-2011 Auckland Philharmonia Orchestra Composer Workshops, which led to a performance with actor Stuart Devenie and conductor Kenneth Young. Stuart played the role of Walter Bolton, the last man given the death penalty in New Zealand, in the hours before his execution.

Various instruments represent various characters in this story – clarinet for Bolton’s flighty paramour Florence, contrabassoon for the stench of death, and harmon-muted trombones for the justice system. Bolton’s ailing wife Beatrice is represented by extensive solos for the cor anglais. At the request of Lee Martelli, Education Manager of the APO, I excerpted one of these into a demonstration piece for an education concert.

• Ellis: Beatrice; hire set 

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• Ellis: Beatrice; computer set 

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• Ellis: Beatrice; computer set 

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SSA and TTB arrangements are also available

By the Rivers of Babylon is a vocal setting of Psalm 137

• Graham Parsons: By the Rivers of Babylon (SATB) - hardcopy score 

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SATB and TTB arrangements are also available

By the Rivers of Babylon is a vocal setting of Psalm 137

• Graham Parsons: By the Rivers of Babylon (SSA or TTB) - hardcopy score 

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SATB and SSA arrangements are also available

By the Rivers of Babylon is a vocal setting of Psalm 137

• Graham Parsons: By the Rivers of Babylon (SSA or TTB) - downloadable PDF 

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3[1.2.p]3[1.2.ca]3[1.2.bcl]3[1.2.contra]; 4331; timp.; 2 perc.; organ; harp; strings

This work was written as part of a series of composer workshops organised by the Auckland Philharmonia Orchestra, for works for organ and orchestra. The Auckland Town Hall organ had been restored and refurbished, returning it to its original splendour as a magnificent concert organ. Six composers were invited to write works for organ and symphony orchestra during 2012, for performance in 2013.

For this work I proposed a work that would contrast percussive sounds with the sound of the organ.

The title appealed to me through its various meanings and associations. Firstly as “a mythological, fire-breathing monster, commonly represented with a lion’s head, a goat’s body, and a serpent’s tail”. Surely if anything could be said to be a musical embodiment of a “fire-breathing monster” it would be the pipe organ! A second definition suggests a ‘chimera’ might be seen as a “grotesque monster having disparate parts”, and also as a “vain or idle fancy”. These last two definitions perhaps relating to the disparate nature of sounds available on the instrument, and the somewhat free-form of the work.

Musically the work contrasts a syncopated one-bar rhythmic idea with more flowing melodic material presented by both the orchestra and the organ. In the final bars the two powerful forces battle for supremacy with the organ having the last word!
I was delighted to be paired with organist John Wells for this project, a musician and fellow composer who I admire greatly (and whose daughters I had taught!). His advice and support were very much appreciated.

-David Hamilton

• David Hamilton: Chimera - hire set 

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• David Hamilton: Chimera - hardcopy score 

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• David Hamilton: Chimera - downloadable PDF 

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2221; 1210; 2 perc. (bass drum, triangle, marimba); grand piano; strings

n.b. Oboe 2 and Bassoon require a Vibraslap and Tambourine respectively. The piano requires 5-10mm metallic chain/s draped over the strings, from middle C to 2 octaves above.

Cirrus was written to commemorate the 20th anniversary of the Wellington Youth Sinfonietta.

While writing, I was learning to sail and learning to better understand the weather. Often the blue sky would be streaked with cirrus; high cloud made of tiny ice particles, dancing to a secret wind. Before long, troops of cumulus would march beneath the cirrus, followed by towers of cumulonimbus and umbrellas.

In writing this piece, I have sought to express the fragility, beauty, and inexorable movement of the clouds, particularly Cirrus.

• Natalie Hunt: Cirrus - hire set 

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• Natalie Hunt: Cirrus - hardcopy score 

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2*2*2*2*, 4230, timp, 3 perc, strings

Compass is a reflection of the choices that shape our life and the lives of others. These choices shape our identity, our state, and the world we share. Like many of my works, Compass is strongly influence by landscape and seascape.

• Hunt: Compass (hire set); computer set 

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• Hunt: Compass; computer set 

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• Hunt: Compass; computer set 

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• Hunt: Compass; computer set 

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