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Dorothy Buchanan  

A Matter of Timing

Duration: 08' 00" Year: 1996
for SATB choir with string quartet, female narrator and mezzo-soprano

Ian McDonald  

Cantata for Joanna

Duration: 09' 00" Year: 1976
for mezzo, tenor, chorus, wind quintet and jazz group

Ronald Dellow  

Fanfare and Finale

Duration: 10' 00" Year: 1999
fanfare and finale for massed choirs and narrator

David Hamilton  

Holy Night

Duration: 04' 15" Year: 2000
for 8 part treble choir with electronic sounds

David Farquhar  

Prayer before Birth

Duration: 05' 00" Year: 1969
for narrator, SSA and organ

David Farquhar  

Sing unto the Lord a New Song

Duration: 05' 00" Year: 1970
for narrator and SATB choir

Dorothy Buchanan  

Song from Ecclesiastes

Duration: 06' 00" Year: 1974
for double SATB choir, narrator, and soloists

Dorothy Buchanan  

The Call of the River

Duration: 30' 00" Year: 1990
for mezzo soprano, tenor and baritone soloists, SATB choir, narrators and ensemble

Dorothy Buchanan  

The Clio Legacy

Duration: 55' 00" Year: 1991
for woman narrator, mezzo, SSA choir and Maori womens' choruses and orchestra

David Hamilton  

The Moon is Silently Singing

Duration: 09' 00" Year: 1985
for two SSATB choirs and two horns

  • Instrumentation
    second horn can be replaced by pre-recorded tape
  • Programme Note

    Scored for two SSATB choirs with two homs, this work sets a poem by Miguel de Unamuno in Spanish. This work has been performed in Australia, England and the USA, as well as throughout New Zealand.

    It is a setting of a short poem by the Spanish poet Miguel de Unamuno (1864-1936) and begins by setting the text in a fragmentary manner, choosing single key words from the poem: canta (singing), luna (moon), sosegada (lulling), blanca (white), and sola (alone). Throughout, I have sought to evoke a mood of stillness and calm (except at the two main climaxes), and much of the writing consists of simple diatonic chords alternating between the two choirs. The work ends, as it began, alternating the words ‘canta’ and ‘luna’.

    The unusual scoring came about through my friendship with a fine horn player and singer – a flippant comment about unorthodox combinations of forces (although I have heard one other work for horn and choir) providing the germ of idea which eventually did bear fruit.

    The Moon is Silently Singing is one of my most widely preformed works internationally, having been heard in Australia, Canada, Germany, England and the USA.

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