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the soloists can be choir members (no need for extra soloists) and it might be possible for the solos to be divided amongst several singers. The written keyboard part, although intended for rehearsal only could be performed with the choir, but on an organ only

• Hamilton: A New Commandment; computer-set 

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• Hamilton: A New Commandment; computer-set 

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• Hamilton: A New Commandment; computer-set 

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A piece which celebrates an anniversary provides a composer with particular challenges in the choice of a text. It should not be so tied to the group or the event that no-one else will want to use the music, yet it needs to acknowledge and celebrate the group’s achievement.

“All This Singing, One Song” was written for GALS (Gay and Lesbian Singers of Auckland) for the choir’s 20th anniversary in 2012. The text comes from the 13th century Persian poet and philosopher Rumi, and consists of several short pieces of his writing on the subject of singing. Most of these encourage the listener to join in with the singing. The music is mostly rhythmic and energetic, with a strong climax at the end where the choir sings the words “Sing loud!”.

Jalal al-Din Muhammad Rumi or Jalal ad-Din Muhammad Balkhi (30 September 1207 – 17 December 1273) was a 13th-century Persian philosopher, theologian, poet, teacher, and Sufi mystic. Also known as Mevlana (Our Guide), Jalaluddin Rumi, but known to the English-speaking world simply as Rumi.

“All This Singing, One Song” was commissioned by GALS (music director: Stephen Bowness), and first performed by the choir on 27 October 2012.

• David Hamilton: All this singing, one song - hardcopy score 

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• Smythe: Alleluia; computer-set 

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• Smythe: Alleluia; computer-set 

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• Smythe: Alleluia - live concert 

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The Carmina Gadelica, known in Gaelic as Ortha nan Gaidheal, is a six-volume collection of orally-transmitted prayers, poems, blessings and other material, collected by the folklorist Alexander Carmichael in the Highlands and Islands of Scotland in the second half of the nineteenth century. Carmichael subsequently translated this material, and edited the first two volumes. The death dirge An Tuiream Bais was published in the third volume, edited by Alexander’s grandson, James Carmichael Watson. I have set the first, fourth, fifth and sixth verses in the original Gaelic language.

• Shortis: An Tuiream Bais; computer-set 

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• Shortis: An Tuiream Bais; computer-set 

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• Carol Shortis: An Tuiream Bais; audio 

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St Michael’s Church in Remuera (Auckland ) is one of the finest acoustics in the city for choral music. When I heard Viva Voce was presenting a concert of “heavenly music” there as the choir’s final concert for 2011, I offered to write a new piece. My earliest regularly performed work,“Lux Aeterna was already scheduled for the programme, so I felt this would make a nice comparison of works written 32 years apart. Conductor John Rosser readily agreed to the idea.

Angele Dei is a text traditionally attributed to St Anselm (c.1033-1109) although it is now believed to have been added to his works after his death probably in the 11th or 12th centuries. It is a brief prayer to a guardian angel – one who is charged with protecting against the assaults of demons, that might lead one into sin.

The piece is full of warm rich choral textures, beginning with the women’s voices descending in a scale-like passage which repeats several times against simple tonal chords in the men’s voices. The build to the climax uses textures reminiscent of Renaissance composers, featuring a string of suspensions in the harmony. The work ends quietly with an Amen section and final statement of the title.

David Hamilton

• Hamilton: Angele Dei; computer set  Year: 2011 

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‘Aunque es de Noche’ was written for the Sydney Philharmonia Choir, and is a setting of a poem by St John of the Cross, entitled ‘Song of the Soul that Rejoices through Knowing God through Faith’. A medieval Sephardic melody is incorporated into the piece, as well some fragments of Flamenco music.

• Maclean: Aunque es de Noche; facsimile 

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• Maclean: Aunque es de Noche; facsimile 

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• Williams, F.: Carol of the New Zealand Bush; facsimile 

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• Music by Felicity Williams 

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The text for ‘Christ the King’ is taken from two poems by James K. Baxter: ‘Song to the Father’ and ‘Song to the Lord God on a Spring Morning’. The title of the piece comes from the feast day of October 25th in the church calendar, and the plainsong for this day is used in the opening and ending of the work. ‘Christ the King’ was written for the Sydney Chamber Choir.

• Maclean: Christ the King; facsimile 

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• Maclean: Christ the King; facsimile 

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• Clare Maclean: Christ the King 

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• Clare Maclean: Complete Choral Music 

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This splendid setting of Psalm 148 for for SATB choir and SATB soloists has some wonderful effects, but requires four good soloists.

• Griffiths, D.: Cosmic Praise; facsimile 

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• New Zealand Choral Music Vol. 1  Year: 1994 

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SSAATTBB

This work for unaccompanied mixed-voice choir alternates bold tonal chords with simple plainsong-like passages. The chordal writing often pits half the choir against the other half, in a type of canon effect. The plainsong-like passages are underpinned by simple repetitive drones. The text, set here in Latin, is part of the Tract for the Mass for Palm Sunday, and includes the well-known entreaty ‘My God, why hast Thou forsaken me?’.

• Hamilton: Deus, Deus meus; computer set 

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• Hamilton: Deus, Deus meus; computer set 

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