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The last carol of the cycle, I Saw Three Ships was written for Cambridge Music School in the summer of 1962. Now I Joseph was walking was written in the early 70s while I was teaching at Linwood High School and originally had a percussion accompaniment. The other two were written in 1977 to complete the cycle with texts by my wife Brigitte in Christchurch, and were first performed in 1980 by the Auckland Dorian Choir under the baton of Peter Godfrey.

Now nearly 30 years later I have made some minor changes

Kit Powell
Eglisau,
January, 2008

• Powell: 4 Carols on 4 Notes; computer-set 

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• Powell: 4 Carols on 4 Notes; computer-set 

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A baby lying is No. 4 of the ‘Five Carols for 3 and 4 Parts’, which were written so as to be performable in more than one choral combination, for example, for women’s voices only with an optional part for men. Along with No. 3, Deep in the forest, those two carols are the darker pair of the set. However the numbering is no indication of performance order, where the five carols are being sung together as a group. In this case the following order is suggested: Nos. 2, 3, 5, 4, 1.

• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: A baby lying; computer-set 

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• McLeod: A baby lying; computer-set 

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A baby lying is No. 4 of The ‘Five Carols for 3 and 4 Parts’, which were written so as to be performable in more than one choral combination, for example, for women’s voices only with an optional part for men. Along with No. 3 Deep in the forest, those two carols are the darker pair of the set. However the numbering is no indication of performance order, where the five carols are being sung together as a group. In this case the following order is suggested: Nos. 2, 3, 5, 4, 1.

• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: Five Carols for 3 and 4 Parts; computer-set 

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• McLeod: A baby lying; computer-set 

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• McLeod: A baby lying; computer-set 

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• Childs, D.N.: A Blessing; computer set  Year: 2003 

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This work was commissioned by choral director Stuart Weightman for performance at Saint Kentigern School in Auckland. The brief was to write a work that could be performed by the school’s choir, but which also included a section for the parent’s choral group attached to the school. Also, ideally the work would include something for both groups to sing together. Finally, it should be possible for either of the separate choir sections to stand alone as independent pieces.

The suggested texts were a blessing from a bookmark given to all the boys at the school, and a blessing often used in chapel services. To the first text I added a couple of lines which closely matched the final section of the second text.

The work begins with a blessing in unison and then 2 parts for treble voices. This is followed by a blessing for SAB choir, and then finally the two earlier sections are performed simultaneously.

• Hamilton: A Blessing for Saint Kentigern; computer-set  Year: 2008 

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• David Hamilton: A Blessing for Saint Kentigern; audio 

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• The Treble Voice Choral Music of David Hamilton Vol. 3  Year: 2011 

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• The Treble Voice Choral Music of David Hamilton Vol. 4  Year: 2013 

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This short blessing was written for my choir St Mary’s Schola at St Mary’s College. It was composed for use in a performance at mass in St. Patrick’s Cathedral in Auckland.

The text is based on traditional Irish blessing, with a version of the concluding blessing often used in many services added at the end.

David Hamilton

• Hamilton: A Blessing for this Day; computer-set  Year: 2009 

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• The Treble Voice Choral Music of David Hamilton Vol. 3  Year: 2011 

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• Radha: A Celtic Christmas; computer-set 

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• Sahar: A Celtic Christmas; computer-set 

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• Griffiths, D.: A Child is Born; facsimile  

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This short work was written at the request of Rachel Young, conductor of Auckland Youth Choir. The choir’s 2006 Christmas concert was to also involve the Auckland Girls Choir, Auckland Boys Choir, and Aotea Youth Symphony Orchestra. A work which could open the concert, involve all performers, and make use of the performance space was needed. And it had to be easy to learn and quick to put together!

After considering various texts I approached noted New Zealand hymn writer Marnie Barrel to ask if she had anything suitable as a text. She very kindly wrote the text that I used for the work. Each choir has an energetic presentation of a verse which describes some of the features and feelings of Christmas. This is followed by an Alleluia. Towards the end of the work, the Alleluia becomes the basis of a canon for all the choirs along with the orchestra.

• Hamilton: A Christmas Fanfare; computer-set 

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