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This short cycle examines the differences between northern and southern hemisphere experiences of Christmas. These differences are encapsulated in Margaret Mahy’s early poem Christmas in New Zealand which contrasts the colours of a summertime Christmas with the images of snow and robins on Christmas cards. The second piece sets a Christina Rossetti poem which suggests that Christ’s birth was early in the day watched only by the angels and the animals. The third piece sets a traditional text which describes the typical landscapes of a northern hemisphere Christmas – the bare tress and the animals foraging for food. The fourth movement is a piece for band alone, which picks up on elements of the opening movement as well as varied treatment of fragments from the well-known carol “Good King Wenceslas”. The final piece sets a widely anthologized poem of unknown authorship. It humorously returns us to a summertime Christmas where there‘s no snow, and where Santa might end up with a suntan in the “Pacific summertime” Christmas.

Christmas Here and There was commissioned by South Auckland Choral Society for the choir’s end of year concert 2011.

• Hamilton: Christmas Here and There; computer set 

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This is a modern folk song about the history of glass-making in Sunderland. It is part of a collection of songs about the River Wear, “Winter Wear”. It can be performed as a Christmas song, or at other times of year. It is not especially religious.

Glass-making has always played an important role in the cultural and industrial history and soul of Sunderland and the River Wear: Benedict Biscop’s unique use of French glass-makers to fill in the windows of his monastery church, St. Peter’s in the 9th century; the industrial melting pot of the 19th century where the abundant supply of coal from the Durham coalfield, ferried down the River Wear fuelled several industries, most notably steel-making, shipbuilding and glass making; the European monopoly of Joblings Glassworks making heatproof oven-ware out of Pyrex in the mid- 20th century; and the National Glass Centre of today in which students at the University and glass artists from around the country craft enchanting art works. The first people to see each of these phenomena must have been transfixed by the novelty they were witnessing. This song portrays the response to each of these first encounters with the magical glass.

• Camm: Magical Glass; computer set 

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• Camm: Magical Glass; computer set 

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This is a modern folk song about the history of glass-making in Sunderland. It is part of a collection of songs about the River Wear, “Winter Wear”. It can be performed as a Christmas song, or at other times of year. It is not especially religious.

Glass-making has always played an important role in the cultural and industrial history and soul of Sunderland and the River Wear: Benedict Biscop’s unique use of French glass-makers to fill in the windows of his monastery church, St. Peter’s in the 9th century; the industrial melting pot of the 19th century where the abundant supply of coal from the Durham coalfield, ferried down the River Wear fuelled several industries, most notably steel-making, shipbuilding and glass making; the European monopoly of Joblings Glassworks making heatproof oven-ware out of Pyrex in the mid- 20th century; and the National Glass Centre of today in which students at the University and glass artists from around the country craft enchanting art works. The first people to see each of these phenomena must have been transfixed by the novelty they were witnessing. This song portrays the response to each of these first encounters with the magical glass.

• Camm: Magical Glass; computer set 

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• Camm: Magical Glass; computer set 

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This text, originally in the Catalan dialect, is generally associated with Christmas. It tells of giving various gifts – things that would have been familiar to the writer of the text – to the infant Jesus: raisins, olives, figs, sweet honey etc. There is a metaphorical hint of the events of Easter in the last lines.

The Son of the Virgin was written for a choir workshop with students of Ascham School (Sydney, Australia) when they visited St Mary’s College in Auckland as part of their tour to New Zealand in 2011.

• Hamilton: The Son of the Virgin; computer set 

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• David Hamilton: The Son of the Virgin; audio 

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

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