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Jodi Chen  

A Rainbow

Duration: 03' 12" Year: 2010
for children's choir

David Hamilton  

Akoako o te Rangi

Duration: 03' 10" Year: 2010
arrangement of piece by Erima Maewa Kaihau for SSA choir and piano

  • Programme Note

    This is the second arrangement made of a song written around 1918 by Erima Maewa Kaihau (1879-1941). It follows on from E moe te ra made in 2007 – both pieces arranged at the request of David Gordon of Diocesan School for Girls. Erima Maewa Kaihau was also involved in the complex gestation of the song Now is the hour.

    Akoako o te Rangi is also very much in the late Victorian tradition of ‘parlour ballads’ and owes little to traditional Maori song forms or styles. In fact the rather erratic word underlay of the Maori text suggests that the English version (hardly a translation though of the Maori) may have been te first made.

    The text is short although there may have originally been further verses (the printed music, published in 1918, contains just the one verse). It is a love song – the scent of a loved one wafting on the breeze to awaken the sleeping lovelorn singer.

  • Availability

Graham Parsons  

Changing the Clocks - Trials of the Digital Age

Duration: 02' 20" Year: 2010
for small to medium sized TTB choir with optional accompaniment

Graham Parsons  

Changing the Clocks - Trials of the Digital Age

Duration: 02' 20" Year: 2010
for small to medium sized SATB choir with optional accompaniment

Graham Parsons  

Changing the Clocks - Trials of the Digital Age

Duration: 02' 20" Year: 2010
for for small to medium sized SAB choir with optional accompaniment

Graham Parsons  

Changing the Clocks - Trials of the Digital Age

Duration: 02' 20" Year: 2010
for small to medium sized SSA choir with optional accompaniment

Juliet Palmer  

Dopey

Duration: 04' 00" Year: 2010
for SSA choir and piano

  • Programme Note

    A setting of a poem by Canadian poet Dennis Lee. “Dopey” comes from the 2007 poetry collection “Yesno”, evoking – in the author’s words – “a world in which the demolition derby and the possibility of living more constructively in the natural order are both real. And at once. So, not just no; not just yes; but yesno.”

  • Availability

Patrick Shepherd  

Elegy for a Fallen City

Duration: 03' 00" Year: 2011
for unison voices with piano accompaniment

David Hamilton  

Escape at Bedtime

Duration: 02' 50" Year: 2011
for SA choir and piano

  • Programme Note

    Although Robert Louis Stevenson’s poetry is not as well known as it once was, his collection A Child’s Garden of Verses still stands as one of the most important early collections of poetry for young people. This fantastical poem tells of a child’s impressions of nighttime and the “thousands of millions of stars” which appear to be chasing him or her. Even when packed off to bed, the sight of the stars remains in the child’s mind’s eye. Several star constellations are named in the poem.

    Escape at Bedtime was commissioned by Sydney Grammar School for the school’s music tour to New Zealand in 2011.

  • Availability

David Hamilton  

Faithful Choir, Rejoicing Sing

Duration: 06' 00" Year: 2010
for two-part treble choirs (or SSAA choir) and organ

  • Programme Note

    In 2006 I wrote A Christmas Fanfare for a concert involving both Auckland Boys’ Choir and Auckland Girls’ Choir. This work for multiple choirs and orchestra was used successfully several times in annual Christmas concerts. In 2010 these two choirs decided to present their own Christmas concert. Rejecting the initial idea of re-scoring A Christmas Fanfare, I offered to write a new piece tailored to the needs of the two choirs, with organ accompaniment. Faithful Choir, Rejoicing Sing is the result.

    The text, here in a modern English translation, dates from the twelfth century and is attributed to St. Bernard of Clairvaux (1090-1153). I was drawn to the idea of an ancient text being delivered by fresh young voices. The text is a hymn of praise celebrating the birth of Christ.
    Each of the voice parts first presents their own verse of the complete text. This is then followed by the four verses being sung simultaneously during a procession, in a kind of canonic texture. Following the procession the same music is heard once more with the parts coming in successively, and the whole piece ends with a final triumphant ‘Alleluia’.

    David Hamilton

  • Availability