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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: 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: A baby lying; computer-set 

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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 setting of the liturgy for the Anglican service of worship was requested by Stuart Weightman for Auckland Boys Choir. The requirement was for a relatively straight-forward setting, in one or two vocal parts, with an optional instrumental part in some movements. Liturgical music presents certain challenges – the principal one being that the texts have to be immediately intelligible. The composer is also afforded little opportunity for repetition of text, or development of musical ideas.

This set of music provides nine opportunities for involvement in the service of worship, and some of the movements could be used as independent anthems or concert items. The texts are taken from the New Zealand Prayer Book.

• Hamilton: A Treble-Voice Liturgy; computer-set  Year: 2008 

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Amokura refers to a red-tailed tropic bird, a rare visitor to Aotearoa/New Zealand, whose tail-feather is treasured by Māori. One such feather was incorporated into the design of a pūtōrino (flute) that Dr Melbourne played. This was one of the last songs Dr Melbourne wrote, and he never recorded it; as with all of his songs, only the words were written down. The song was written for his granddaughter, also called Amokura, who is perhaps the only person who ever heard it sung.


Dr Melbourne devoted his life to restoring the voices of traditional Māori instruments, which had lain, unplayed in museums in Aotearoa/New Zealand and around the world. His passion for these taonga pūoro or ‘singing treasures’ shines through in the words of this song, where he likens Amokura to all those things most special to him.


*No performance without prior consent of composer/Hirini Melbourne Whanau Trust

• Shortis: Amokura; computer-set 

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Although the work was not commissioned, it was indirectly ‘requested’ by Ross Carey, who performed Aquarius I in a New Zealand Piano Music concert on 30 March 2008. Aquarius I was written for, and premiered by, Anita van Dijk in 2000, and there was a note at the end of it saying that “Aquarius II may emerge at a later date” – it was in response to Ross’ enquiry about this that I was spurred to write Aquarius II. Both works are dedicated to Anita van Dijk, upon whose birthday numbers they are based.

Aquarius II is the sequel to Aquarius I.

• Becker: Aquarius II; computer-set 

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• Baroque Voices: Brother Sun, Sister Moon  Year: 2011 

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When Auckland Choral was asked to sing at the funeral of a highly regarded and long-standing member of the choir, I offered to compose something special for the service. It needed to be a piece that could be quickly learnt. Blessing was the result. The text is by Wellington-based poet Anne Powell who is a member of the Catholic order of the Cenacle Sisters.

Blessing is a short poem of healing for those “…who walk the earth”, and draws on images of the natural world – the light, the sea, and the wind. The piece is dedicated to the memory of Peter Gibbons, who particularly enjoyed the outdoors.

• David Hamilton: Blessing - hardcopy score 

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This short blessing was written for the 50th anniversary of Trinity at Waiake Methodist Church in Auckland. The text is by British clergyman David Adam who for many years was vicar of Holy Island, Lindisfarne. He is now retired but still lives on Lindisfarne. He has published several collections of art, reflections, prayers, and meditations based on the Celtic tradition.

The text asks for the blessing of the Trinity over all facets of life – work, people, thoughts, in fact all who we each come into contact with each day.

• Hamilton: Blessing of the Trinity; computer-set 

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This short setting was written at the request of a choral colleague for a ladies choir in Fiji that she had had involvement with on visits to the country. The text is from the Afro-American tradition of spirituals and the music suggests that style of musical setting. Bow low, Mary is dedicated to the singers of the Nasereci Ladies Choir of Namaka, Fiji.

• Hamilton: Bow low, Mary; computer-set  Year: 2008 

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Cat in the Dark was commissioned by The North Canterbury Academy of Music for performance in their Music Quarter Festival, in Rangiora, 2008. It was written for massed children’s choir in unison and 2 parts. It is a setting of a poem by NZ author Margaret Mahy. The final verse also includes a short ‘round’ in 3 parts. There are also two different instrumental accompaniments: one for piano and clarinet in B flat, and one for piano alone. The song may be transposed to suit the requirements of the choir.

• Ritchie A.: Cat in the Dark; computer-set 

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• Ritchie, A.: Cat in the Dark; computer-set 

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• Ritchie, A.: Cat in the Dark; computer-set 

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• Ritchie, A.: Cat in the Dark; computer-set 

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