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2222 42211 timpani; 3 perc. ; harp; strings

This tone poem, along with ‘High Valley’, was composed to evoke the Rocky Mountains – as seen from the vantage point of Canmore, Alberta. Far Calling includes parts for mixed voices SATB sung to the sound of ‘Ah’. The works honour Canada’s magnificent beauty and its vast open, unspoiled places – truly a garden of Eden.

• Twomey: Works by Ray Twomey; computer-set 

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• Twomey: Far Calling (Opus 22); computer-set 

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• Twomey: Far Calling (Opus 22); computer-set 

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3212;4331;timpani;3 percussions ( Glockenspiel, tubular bells, suspended cymbal (large) ratchet, wood block, xylophone, tam tam, tambourine, bass drum, whip, suspended cymbal (medium), castanets; harp optional; piano; strings

Since my first setting of Jack Prelutsky’s poetry in 1996 (The Dragons are Singing Tonight for choir and brass band) I’ve returned to his texts frequently. Although this American author is best-known as a writer of poetry for children, his humorous verses appeal to all ages, and he is one of the most widely anthologized poets around.

Monday’s Troll is a companion set to his dragon poems. The poems are not a cycle in the sense of telling a connected story, but they do explore different aspects of the subject at hand: trolls, wizards, goblins, giants and ogres. For this initial set of pieces I’ve selected four of the poems. The first echoes the well-known children’s rhyme which begins ’Monday’s child is fair of face’. The second is Bellow the ogre telling us all about himself, and features the men’s voices prominently. The third piece allows the women’s voices to take the limelight and is a short lullaby sung by a mother ogre to her young one. The final piece details the lives of seven grubby goblins who take great delight in their rather unpleasant lifestyle.

Monday’s Troll features a solo bass clarinet in a kind of concertante role. It could be thought of as the voice of the various characters in the pieces. The work was commissioned by Christchurch Symphony Orchestra for their 2002 Proms concert with funding from Creative New Zealand. Monday’s Troll was first performed on 9th November 2002 by the Christchurch Symphony Orchestra and Christchurch City Choir, with Gretchen Dunsmore (bass clarinet), conducted by Marc Taddei.

• Hamilton: Monday's Troll; computer-set 

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313altosax,tenorsax,1; 2221; timp; 4perc; 2kybd; hp; strs Includes parts for concert band players

This work is a setting of three fragments from the poetry of Christina Rossetti (1830-1894), probably best known for poems such as ‘In the bleak mid-winter’ and ‘Love came down at Christmas’. Certainly much of her poetry has a concern with love and death, although the texts used here are all to do with singing.

The piece divides into three sections following the divisions of the text, and begins with an introductory section for the orchestra. The music of the opening choral section returns in a slightly modified form as the final section.

The work was commissioned for the Hamilton Music School held in August 1991, and was intended for the entire school to perform: choir, orchestra and symphonic band members. The scoring has some degree of flexibility as I could not be sure in advance who I was writing for.

A planned performance of the work at the Bay of Plenty Music School in early 2008, prompted a revision of the work (and the opportunity to put it onto computer). An additional stanza was also added to the second text.

• Hamilton: Rossetti Fragments; facsimile 

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