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Advanced SATB divisi choirpreorder-itunesCommissioned by The Choir of St James’, Sydney
Winner of the 15th International Choral Competition, Croatia.

I – Versa Est In Luctum

II – Lamentation of Jeremiah

III – Hombres, Victoria, Victoria!

Medium Difficulty, SSAA treble choir with piano

 

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Rain Dream is a highly imaginative choral piece for SSAA choir and piano. In it a young child who lives in the dry central Australian outback and has never seen rain dreams of what it would like to be in a thunderstorm. The work eventually becomes a sort of rain dance with chanting of “Wandjina”, an Australian Aboriginal rain spirit. Commissioned by Gondwana Voices and winner of the Gondwana Voices Composition Competition.

 

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Medium Difficulty, SATB divisi choir, a cappella
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On The Night Train sets the scene of a train dashing through the Australian bush at dusk, as described by Henry Lawson’s graceful poetry.The emptiness of the Australian outback is represented by long, sustained pitches in the opening and closing sections of the work, above which a simple, folk-like melody is sung. This melody is also used throughout a rhythmic contrasting section where the singers create the impression of a moving train with “scat-like” nonsense syllables and whispered vocal effects.

Commissioned by The St Peters’ Lutheran Chorale, performed by Gondwana Chorale


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Moderate Difficulty, SATB divisi choir
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A lovely setting of this beloved text by Mary Frye, which speaks comfort as it were, beyond the grave. For unaccompanied SATB choir, written for Graeme Morton and the National Youth Choir of Australia. Highly recommended.

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Moderate Difficulty, SATB divisi choruspreorder-itunes

 

Commissioned by Chanticleer. This winner of the Chanticleer Composition Competition is based on a Hungarian folk text translated to English. Composer Joseph Twist sets a deeply moving homophonic work that explores “God has mercy on me. Wand’ring, wand’ring.”

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Moderate Difficulty, SATB divisi choir

“Where charity and love are, God is there.” A commemoration of Jesus Christ for Holy Thursday, for me, the Ubi Caritas has a few significant dimensions; the warmth of Christ’s love, the adoration and mystery of the holy spirit, and the idea of an ‘inclusive, universal’ celebration. Accordingly, my Ubi Caritas reflects this through contrasts in harmonic language, at times chromatic or mysterious, at other times diatonic or pentatonic, reflecting Christ’s love, as well as the influence of modal harmony from Eastern Europe and Africa. Similarly, contrasts in rhythm and texture are incorporated. The calm, sparse music which bookends the work is countered with rhythmic, syncopated music in a kind of ritualistic exultation.

Commissioned and performed by the Sydney Chamber Choir