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These pieces are largely arrangements of David Hamilton’s set of songs Garbage Delight. The pieces present a slightly jaundiced or darker view of eating and food, albeit in a humorous way. The poems were written for young people, and the original songs were aimed at the same age group – however they are fun for people of any age!

The first song O Sliver of Liver is a heartfelt plea for a dreaded food to go away. Battle-hymn of the Ice-cream Connoisseur is a short poem about the lengths one goes to in order to enjoy a favourite food. The third song, for just the women’s voices, is a variant of the well-known nursery rhyme Mary Had a Little Lamb. The fourth of the cycle, I Ate Too Much, details the number of foods that have been stuffed in, but just maybe there’s room for something extra after the main course! The final piece, Garbage Delight, never actually tells us just what the food of the title is, but it’s obviously something special – better than jelly, ice-cream, candy or even Toffee Surprise.

The poems are by Myra Cohn Livingston ( O Sliver of Liver), Adrian Mitchell ( Battle-hymn of the Ice-cream Connoisseur), Jack Prelutsky ( I Ate Too Much), and Dennis Lee ( Garbage Delight). Mary Had a Little Lamb is by an anonymous writer.

A la Carte was arranged at the request of conductor Julie Jack-Gough for her choir Hamilton Chorale. The first and fourth pieces had already been arranged for choir in 2002, but were revised for this cycle.

• Hamilton: A la Carte; computer-set  Year: 2009 

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• Beresford: Duets for Younger Players 

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• Bray: Be the Light within our Darkness; computer-set 

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• Shirley Erena Murray: Touch the Earth Lightly; computer-set  Year: 2008 

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• Sahar: Carols by Candlelight; computer set 

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• Sahar: Christmas Bells; facsimile  

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• Sahar: Christmas Bells; computer-set 

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Violin Concerto in F takes its themes and forms from folk song and dance music of old Europe. The first movement is an extended recasting of the classic Scottish Ballad _Wild Mountain Thyme". After an extended introduction that states the melody of the ballad, the music accelerates and tightens into a jig. Throughout the piece, tension is maintained between the free-flowing natural melody and the choreographic energy of 6/8 time, even during the long cadenza. A brief episode from the ensemble brings the music back to the mood of the opening before finishing on a high, unexpected chord.

The second movement, entitled Reverence, is a synthesis of Balkan choral rhythms and melodies, with shifting bars of 7/8, 3/8, and 5/8. The solo part teams up with principal first and second violin soloists in central episodes reminiscent of choral drone singing of Bulgaria and Macedonia. The title refers to the respect a ballet class shows to their pianist at the end of their time together, and in a greater way the honor we show to those who help to bring our lives meaning.

Brawl, the title of the first movement, refers not to a fistfight but a round dance of the Renaissance that was popular in England and France in which participants play “follow the leader.” This dance may be the ancient ancestor of hoedown music, to which it bears a strong resemblance. The opening violin solo is derived from a tune of the great French lutenist Robert Ballard, and is answered by a raucous, offbeat countermelody in the strings. The scope of the rhythmic jousting touches on many disparate styles, including spy movie music and a trace of heavy metal before returning to the reel-and-drone of the beginning.

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• Thomas Goss: Concerto in F 

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• Lauder: Fruit of our Folly; computer-set 

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• Lauder: Instructions for How to Get Ahead of Yourself While the Light Still Shines; computer set 

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• Lauder: Instructions for how to get ahead...; computer 

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• Kathryn Lauder: Instructions for How to Get Ahead of Yourself ... 

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