CONCERT PROGRAMME
Hamilton Civic Choir -Musical Director: Elise Bradley, MNZM
Collaborative Pianist: Francis Cowan
Guest Conductor: Dr. Karen Grylls, CNZM
Guest Conductor: Maria Colvin
St Peter’s Cathedral Choir- Director of Music : Dr Rachael Grifiths-Hughes, MNZM
Organist: Anne Cleaver
Requiem In D Minor
G. Fauré
St Peter’s Cathedral Choir
&
Hamilton Civic Choir
Conducted by: Elise Bradley MNZM
Organ: Dr Rachael Griffiths-Hughes MNZM
Soprano: Gabriella Schuitemaker
Baritone: Robert Abbel
Kyrie From ‘Nelson Mass’
F.J Haydn
Hamilton Civic Choir
Conducted by:Elise Bradley MNZM
Piano: Francis Cowan
A Star Shall Rise Up out of Jacob
F. Mendelssohn
Hamilton Civic Choir
Conducted by: Dr Karen Grylls CNZM
Piano: Francis Cowan
Here is the River
F. Byett
Hamilton Civic Choir
Guest Conductor: Maria Colvin
Piano: Francis Cowan
Magnificat
E. Daley
Conductor: Elise Bradley MNZM
Organ: Francis Cowan
Theme and Variations
H. Andriessen
Organ Solo: Anne Cleaver
Gloria from Communion Setting in F
H. Darke
St Peter’s Cathedral Choir
Conductor Dr Rachael Griffiths-Hughes MNZM
Organ: Anne Cleaver
Sanctus and Benedictus from Echo Mass
J. Jennings
St Peter’s Cathedral Choir
Conductor: Dr Rachael Griffiths-Hughes MNZM
Agnus Dei from Missa Aeterna Christi munera
G. Palestrina
St Peter’s Cathedral Choir
Conductor: Dr Rachael Griffiths-Hughes MNZM
Beati Quorum
C.V Stanford
St Peter’s Cathedral Choir
Conductor: Dr Rachael Griffiths-Hughes MNZM
My Spirit Sang All Day
G.Finzi
St Peter’s Cathedral Choir & Hamilton Civic Choir
Conductor: Dr Rachael Griffiths-Hughes MNZM
Let All the World in Every Corner Sing
R. Vaughan-Williams
St Peter’s Cathedral Choir & Hamilton Civic Choir
Conductor: Dr Rachael Griffiths-Hughes MNZM
Piano: Francis Cowan
PROGRAMME NOTES
Requiem in D Minor
G. Fauré 1845-1924
Gabriel Fauré (1845-1924), our featured composer, revealed his musical talent as a small child in rural southern France. Whenever he could get away from school, he would run to a nearby chapel to play on the harmonium, despite having no musical training. His father decided to educate him to become a church organist and choir director, so he enrolled nine-year-old Gabriel in a school in Paris that focused on intense training in religious music. There he met his most influential mentor, Camille Saint-Saëns (1835-1921), who taught advanced piano and encouraged him to compose. Saint-Saëns promoted Fauré as principal organist at the Church of the Madeleine in Paris and later helped him become director of the Paris Conservatory. As both a composer and teacher, Fauré served as a bridge from early 19th-century romanticism, through impressionism, to 20th-century modernism. Th e Requiem is undoubtedly Fauré’s best-known work. It received its
first performance in the fashionable church of The Madeleine in Paris,
where Fauré was choirmaster, on 16 January 1888. While two other
versions appeared in 1893 and 1900. While the Requiem is, in essence, a Mass for
the dead, Fauré aimed to avoid any sense of dread and to evoke peace
and heavenly rest.
Kyrie from “Nelson Mass”
F.J. Haydn 1732-1809
Haydn called his mass Missa in Angustiis (Mass in a Time of Anxiety). The previous year, Napoleon had defeated the Austrian armies and threatening Vienna, and then, in the summer of 1798, he had conquered the allied naval blockade and appeared set to attack Egypt. Times were fraught and uncertain, but in mid-September, about a week before Haydn’s new mass was to be performed, word reached Vienna that the British Admiral Horatio Nelson had destroyed Napoleon’s fleet in a brilliant victory at Aboukir. Exactly how or when Haydn’s Missa in Angustiis became popularly known as the Lord Nelson Mass is something that no one even at that time was able to say for certain, but surely the first listeners would have associated the terrifying trumpets and timpani of the opening Kyrie and the jubilant, dramatic music that followed with the political turmoil – and then the military victory – that was on everyone’s minds. This version performed without the solos will be accompanied by XXXXXX
A Star Shall Rise Up Out of Jacob
F. Mendelssohn 1809-1847
“A star shall rise out of Jacob” (or “come forth from Jacob”) is a famous biblical prophecy found in Numbers 24:17 of the Old Testament. Spoken by the seer Balaam, it declares that a, “star and a scepter will arise from Israel” to bring victory, often interpreted as a messianic promise for a future king or ruler. The “star” and “scepter” are understood as symbols of royal authority, sovereignty, and divine power
Here is The River
Fergus Byett b.2000-
At a choir fundraising concert, chorister Liz Carpenter made the winning bid in an auction for a new choral composition by Fergus. Her partner, a keen reader of New Zealand poetry, had recently discovered Waikato karakia by Bob Orr, a poem reflecting on life alongside the Waikato River. With the poet’s permission, we shared the text with Fergus, suggesting that he focus particularly on the poem’s second half, which resonated deeply with them.
here is te awa
here is the Waikato our wandering mother
and here by the banks of
Kirikiriroa
I have sat down beside her.
Bob Orr wrote Waikato karakia during a residency at the University of Waikato. The full poem explores the river and its surroundings by day and by night; the excerpt set in Here is the River comes from its nocturnal section, where moonlight and stars “weave tukutuku panels on the river”. Images of a “waka with paddles of fire” evoke the river’s past, while lovers walking “arm in arm” connect the poem to the present day. Across successive generations, those living beside the Waikato experience the river’s flow as a constant presence in their lives, linking those who have gone before with those yet to come.
An especially striking feature of Orr’s poem is its use of repetition, echoing the style of traditional karakia, in which key words or phrases recur to create resonance and emphasis. Repeated references to “the river” give the text a chant-like quality, grounding the poem in the enduring presence of te awa itself.
Magnifcat
E. Daley b.1955-
Eleanor Daley’s Magnificat is a luminous and expressive setting of the biblical song of Mary, blending lyrical melodies with rich choral textures. Written in Daley’s characteristic style — both accessible and emotionally resonant — the work moves between moments of quiet reflection and joyful exaltation. Its flowing lines and warm harmonies capture the wonder, humility, and hope at the heart of the text, making it a beloved contemporary addition to the choral repertoire.
Theme and Variations
H. Andriessen (1892-1981)
Hendrik Andriessen’s Theme and Variations for organ reflects the composer’s gift for combining classical clarity with rich Romantic colour. One of the Netherlands’ most distinguished twentieth-century organists and composers, Andriessen was deeply influenced by French organ traditions, particularly the music of César Franck and Charles Tournemire. In this work, a simple, expressive theme is transformed through a series of contrasting variations, showcasing the organ’s wide palette of tone and character. By turns lyrical, meditative, and exuberant, the piece demonstrates Andriessen’s masterful craftsmanship and his deep understanding of the instrument’s expressive possibilities.
Gloria from Communion Setting in F
H. Darke 1888-1976
Composed in 1926 for St Michael’s, Cornhill, Harold Darke’s Communion Service in F major is a masterpiece of early 20th-century Anglican music. The Gloria, a dramatic and robust setting of the eucharistic text, features dignified unison writing that serves as a powerful supplication. Though part of a smaller overall output, the service is renowned for its blend of traditional English choral style and profound theological sensitivity
Sanctus and Benedictus from Echo Mass
J. Jennings
This short a cappella setting of the Ordinary of the Mass comprises settings of the ‘Kyrie’, ‘Gloria’, ‘Sanctus & Benedictus’, and ‘Agnus Dei’. It is a Missa Brevis (short mass setting with the ‘Creed’ omitted) suitable for liturgical use or concert use. The work is written for unaccompanied SATB choir. It is a charming setting featuring, as its title suggest, imitative echo effects between sections of the choir.
Agnus Dei from Missa Aeterna Christi munera
G Palestrina 1525-1594
Published in 1590 in his fifth book of Masses, Missa Aeterna Christi munera is a prime example of Palestrina’s mature style—concise, serene, and melodic. It is a “paraphrase” mass, meaning its melodic material is derived from a pre-existing plainsong: the hymn for Matins of Apostles and Evangelists, Aeterna Christi munera. This setting is highly regarded for its “classic simplicity,” featuring a four-voice SATB structure for most movements
Beati quorum
C.V. Stanford 1852-1924
Charles Villiers Stanford’s “Beati quorum via” (Op. 38, No. 3) is a celebrated, meditative motet for unaccompanied six-part choir (SSATBB) composed around 1892. It is the final and most famous of his Three Motets, setting Latin text from Psalm 119:1 on righteous walking. Known for its lyrical, pastoral style, it often showcases antiphonal effects between upper and lower voices. [1, 2, 3]
My Spirit Sang All Day
G.Finzi 1901-1956
Gerald Finzi’s My Spirit Sang All Day (1929) is a vibrant, joyous part-song for mixed voices, that celebrates the bliss of young love. It is the third in his Seven Poems of Robert Bridges, op. 17, featuring rapid, shifting harmonies, a brisk tempo, and a repeating “O my joy” refrain that showcases Finzi’s intimate connection to English lyric poetry
Let All the World In Every Corner Sing
R. Vaughan-Williams 1872-1958
Ralph Vaughan Williams’s Let All the World in Every Corner Sing is a jubilant setting of a text by the seventeenth-century poet and priest George Herbert. Composed in Vaughan Williams’s unmistakable style, the anthem combines energetic rhythms, broad melodic lines, and rich harmonies to create music of exuberant praise. The recurring refrain, “The church with psalms must shout,” gives the work its triumphant character, while the contrasting quieter passages provide moments of warmth and reflection. Widely loved in both church and concert settings, the piece captures Vaughan Williams’s gift for blending English literary and musical traditions into music of stirring vitality and joy.
BIOGRAPHIES
Elise Bradley, MNZM
Musical Director
A passionate musician, award-winning conductor, and internationally respected educator, adjudicator and clinician, Elise Bradley served for many years as the Head of Department Music at Westlake Girls’ High School in Auckland, New Zealand. She founded and conducted the school’s renowned treble choir, Key Cygnetures from 1991-2007, and directed the New Zealand Secondary Students’ Choir from 2001-2007, both of which won numerous national and international awards. She was also a soloist and member of New Zealand’s National Chamber Choir, Voices New Zealand from 1998 – 2010. In January 2018, Ms. Bradley was named a Member of the New Zealand Order of Merit (MNZM), an honour awarded to her from Queen Elizabeth II, in recognition of her services to Music. In March 2025, she was awarded a King Charles III Coronation Medal for her outstanding service and dedication to the Toronto Children’s Chorus and to the wider community in Canada.
Elise repatriated home to New Zealand at the end of 2021, after 14½ years as the Artistic Director of the Toronto Children’s Chorus. During her tenure, the Chorus recorded professionally, commissioned Canadian compositions, collaborated with numerous international and national artists, and represented Toronto on nine international and four national tours. She also produced a virtual recording for the ACDA National Conference in 2021 and for the Hong Kong World Choral Festival in 2022. The Chorus is internationally recognized for the high standard of its performances, and for its challenging repertoire which spans diverse cultures, languages, and traditions. Its CD, Sounzscapes: From Our Lands, directed by Elise Bradley, was named the most Outstanding Choral Recording by Choral Canada in 2014.
In addition to her work as Artistic Director of the Toronto Children’s Chorus, Ms. Bradley has received many invitations to conduct, adjudicate choirs, and present at conferences around the globe, recently including the 11th World Symposium on Choral Music (Spain), Dozan wa Awtar (Jordan), the inaugural New Zealand National Children’s Choir (Auckland, NZ), the IFCM World Choral Expo (Macau), Gondwana Voices (Australia), Orientale Concentus (Singapore), Crystal Children’s Choir (United States), Carnegie Hall, (United States), the Hong Kong Inter-School Choral Festival (China), the World Choral Symposium in Turkey in 2023, the AOV International Choral Festival (Philippines) and the Bandung International Choral Festival (Indonesia).
Since her return to New Zealand, Elise has co-founded the company “Choral DirectioNZ”, the New Zealand Children’s Choral Academy, and has completed a number of Kodály Music Certificates in preparation for her return to the primary music classroom as part of the Creatives in Schools initiatives. She is currently the Music Director of the NZCCA Senior Choir, Nota Bella Junior Choir at Westlake Girls’ High School, the Ficino Primary Choirs and Takapuna Grammar School’s Leona Ensemble.
Francis Cowan
Collaborative Pianist
Francis Cowan studied piano with Ruby Campbell and then Judith Clark at Victoria University. Following completion of his degree in Piano Performance, he trained at Wellington Teachers College where he continued to major in music.
Francis was appointed Director of Music at St Mark’s Church School in 1989.
In 1994, Francis moved to Hamilton inspired by the respected tradition of music at Southwell School. At Southwell, he trained the Boys’ Choir to international standards and devoted himself to achieving the highest possible level in all aspects of the annual Opera. This included designing and painting the sets and overseeing the artistic direction.
In 2009, Francis was appointed Director of Music at St Paul’s Collegiate School expanding his teaching experience into senior Cambridge and NCEA classes.
Following two years splitting time between St Paul’s Collegiate as Director of Vocal Performance and Norah Howell Fellow Piano Accompanist for the University of Waikato, Francis was appointed as full time Head of Collaborative Piano at the University in 2015. He has enjoyed a busy schedule of coaching and accompaniment for voice and instrumental students. He re-joined the team of pianists for the New Zealand Opera School in 2021, and re-joined Hamilton Civic Choir as collaborative pianist in 2025.
Karen Grylls, CNZM
Guest Conductor
Dr Karen Grylls ONZM (1999), CNZM (2023) is an Honorary Associate Professor in Choral Conducting at the University of Auckland. She conducted the New Zealand Youth Choir from 1989 to 2011, founded Voices NZ in 1998 and Artistic Director of three internationally acclaimed national choirs: these two and the NZ Secondary Student’s choir till 2024. From 2011 to 2013, Karen was also Artistic Director of Toronto’s Exultate Chamber Choir.
Her performances with the Youth Choir and Voices NZ have won international competitions and awards: 1992 with NZYC, The Silver Rose Bowl in the BBC Let the Peoples Sing competition, NZYC Choir of the World, Llangollen (1999), TOWER Voices CD Spirit of the Land took the 2006 Tui Award for Best Classical Album, and the CD Voice of the Soul was a finalist in the 2013 Vodafone NZ Music awards. Her work with the national choirs in New Zealand has been acknowledged with her appointment as Artistic Director Emerita to Choirs Aotearoa NZ in 2025.At the University of Auckland, Karen established a postgraduate pathway in Conducting at the Masters and Doctoral level. Students from the university are regularly accepted into overseas courses of study and have successfully taken on high-level conducting positions specifically with the national choirs in New Zealand. Many prize-winning conductors from The Big Sing, the national secondary schools choral competition, have studied with her. Karen received an Auckland University Distinguished Teaching Award in Music (1996), and an Officer of the New Zealand Order of Merit (ONZM) in 1999, and Companion to the New Zealand Order of Merit (CNZM) in 2023, for her services to choral music. She is also the recipient of two national citations for services to New Zealand music.
Karen is much in demand as an adjudicator for competitions and festivals worldwide, most recently in Bali and Taipei, the 48th International competition in Tolosa, and the Marktoberdorf International Chamber Choir Competition, Bavaria. She is sought after internationally as a choral clinician and regularly conducts international masterclasses and workshops. In August 2019 Karen was a plenary speaker at the Oxford Conducting Institute at the Sydney Conservatorium Conference and in 2022, Karen was a jury member for the International Tokyo Choir Competition.
Since the outbreak of the pandemic online lecture appearances have included Toronto, Los Angeles, Boston and Montreal. Online lecture appearances also included the Sydney International Series (Gondwana) In 2025 Karen presented lectures online to Temple University Philadelphia and Nuorten Kuoroliitto Helsinki and in July, she the International Jury in Bali, and present at the ECA International Singing week at Ghent.
Dr Rachael Griffiths-Hughes, MNZM
Conductor St Peter’s Cathedral Choir and Organist
Dr Rachael Griffiths-Hughes has been Director of Music at St Peter’s Cathedral in Hamilton since 2000, and lectures in music at the University of Waikato, where she also directs the University Chamber Choir . Rachael was conductor and musical director of the Hamilton Civic Choir from 2000 to 2014 and she was named an Associate of the Royal School of Church Music in 2017 for her work in the church music field. She founded, and has directed Vox Baroque since 2014, a group of instrumentalists and singers specialising in Baroque music in Hamilton, performing monthly. Dr Griffiths-Hughes was an adjudicator at the 2024 World Choir Games in Auckland. Rachael plays harpsichord and organ for NZBarok and the early music ensemble Affetto. She has performed frequently in orchestral concerts, including with the New Zealand Symphony Orchestra and Auckland Philharmonia. And this King’s birthday, 2026, she was awarded the New Zealand Order of Merit (MNZM) for her services to music.
Maria Colvin
Guest Conductor
Born in Hamilton, Maria Colvin is a choral and orchestral conductor, flautist, singer, and is the Director of Music at Waikato Diocesan School for Girls.
Maria conducts the award winning Dio choir Bel Suono, and formed the Hamilton Festival Choir and Treble Choir for Arts Festival performances with Hamilton City Brass – Jenkin’s “The Armed Man” in 2023 and Tin’s “To Shiver the Sky” with soloists Emmanuel Fonoti-Fuimaono and Elaine Wogan in 2024.
Maria has sung in the London Philharmonic Choir, Graduate Choir, Repertoire Choir, Tauranga Civic Choir, Hamilton Civic Choir, and plays in the Hamilton Pops Orchestra, Trust Waikato Symphony, Civic Players and for numerous school and community musical theatre productions.
Anne Cleaver-Holm
Organist
Anne began piano lessons at St Joseph’s Convent, Lyttelton, later gaining LTCL in Nelson, under the guidance of Kathleen Barnett. She commenced organ studies with Roger Williams in 1993, and then studied with Douglas Mews (Jnr), and Andrew Cantrill in Wellington, achieving LTCL (Performance) in 2001. Anne served as cathedral organist at Christ Church Cathedral, Nelson for 11 years and during this time was also accompanist for Nelson Male Voice Choir. Shortly after moving to Hamilton in 2005, she took up her current position as organist at Waikato’s Cathedral Church of St Peter. She also enjoys accompanying the Southwell school chapel choir. Anne studied part time extramurally at Massey University and graduated with a BA(Mus) degree in 2014, mentored by Dr Rachael Griffiths-Hughes.
Gabriella Schuitemaker
Soprano
Gabriella is a Year 13 student and current Head Girl at Waikato Diocesan School for Girls. She has been a St Peter’s Cathedral chorister since she was 5. Gabriella has been under the tutelage of Jayne Tankersley for 4 years and is a soprano in the New Zealand Secondary Schools Choir which will go on tour to Hong Kong and Singapore later this year. Gabriella is also a member of the National winning Barbershop Quartet two years running. As well as singing, Gabriella is an accomplished violinist who studies with Dr Lara Hall, having completed her ATCL in 2024. As well as playing in Carnegie hall, she has played with NZ Secondary Schools Orchestra for 4 years, national youth orchestras in Australia, in NZ Barok winter academies, and show orchestras.
Robert Abbel
Baritone
Robert’s first singing experience was as a boy soprano in the local children’s choir of his hometown in Germany, and he has never stopped singing since. He received his first formal vocal training during university and, after moving to the Netherlands, took singing lessons from bass-baritone Joep Broecheler. From 2006 to 2010, he was a member of the Dutch Students Chamber Choir, touring several European countries. Robert has regularly appeared as soloist in works performed by the choirs he sang in, including Fauré’s Requiem, Pärt’s St. John Passion and Castelnuovo-Tedesco’s Romancero Gitano. He moved to New Zealand seven years ago and is a proud member of Voices 60, the larger ensemble of Voices New Zealand Chamber Choir.
St Peter’s Cathedral Choir
Sopranos:
Kitty Storey
Lis Wilson
Alice Capper
Gabriella Schuitemaker
Marlena Prentice
Sairah George
Junga Yoon
Tiffany Sayers
Rosie Knight
Tenors:
Koli Jayatunge
Noah Hitchens
Igor Rychkov
Jamie Spooner
Altos:
Kay Neilson
Kath Barnsley
Dianne Cameron
Margot Buick
Liz Phillips
Basses:
Peter Lord Cowell
Nick Odom
Brian Quest
Ray Harlow
CHOIR MEMBERS
Hamilton Civic Choir
Sopranos
Amanda Kelly
Amanda Wood
Bianca Verdonk
Cash Long
Emer Lea
Holly Hampson-Tindale
Idelle Hiestand
Jenny Lewy
Jo Arthur
Karen Johnson
Karena Fleming
Laura Duntsch
Lilian Lescun
Maria Colvin
Meryl Nicol
Ocean Daniel
Poppy Lethbridge
Stef Gibson-Muir
Susan Woodhouse
Altos
Alec Fernandez*
Alexandria Burnell
Angelina Young*
Diana Scruby
Elizabeth Ordelheide
Esther Termaat
Fran Crowther
Hannah Goldmanu
Julie Poot
Kate Lethbridge
Lisette Ingram
Liz Carpenter
Mary Raleigh
Tammy Wong
Tara Jeory
Tiffany Sayer
Tenors
Aiden Vanner
Christoph Maubach
Damian Tomic*
Hans van den Dolder
John Heritage
Keith Spooner*
Basses
Chris Glassey
Conall O’Toole
Felix Lau
Greg Morton
Harry Neil
Hugh Goodman*
Humphrey Pullon
Isaac Albery*
Jae Hyun Jeong
Jamie Spooner
Peter Winder
Robert Abbel
Roma Warren*
Steve Adams*
Tony Antoniadis
Zach Howell
*Member not singing in the current concert
UPCOMING EVENTS
| Concert: | When: | Where: |
|---|---|---|
| 2026 Concert 3: HCC 80th Year Gala Concert | Saturday 19th September, 7pm | Cambridge Town Hall |
| 2026 Concert 4: G. F Handel’s “The Messiah” (Part One) and Charpentier’s “Messe de Minuit pour Noël | Saturday 12th December, 7pm | Location TBA |
| 2027 June: The Choir has been invited by Vox Anima in London to tour their for a Residency with Bob Chilcott! | June 2027 |
SPECIAL THANKS
Ngaa mihi nui to our sponsors:
Sincere thanks to our generous donors, these contributions have been essential in enabling the choir to stage varied and interesting concerts:
Margaret Fairhurst
Sue Collinge
Bob Armstrong
The Hamilton Civic Choir committee would like to especially thank:
- Members of St Peter’s Cathedral Choir, their Musical Director Dr Rachael Griffiths-Hughes and organist Anne Cleaver-Holm for joining us in this collaboration
- The Administration team at St Peter’s cathedral Hamilton for their help in organising this event
- Choir members and friends involved in staging set up and take down, which involves coming early and staying late…and beyond
- Choir members who have volunteered their baking or buying skills to help supply for our after-concert supper, and thanks to Kath Barnsley & the Cathedral for the tea and coffee!
- All the members of the choir for their enthusiasm and hard work in preparing for the concert – without their commitment and involvement, there would be no choir 💛
We’re grateful to our supporters for making this concert possible:
Stage Manager
Front of House Team
Family & Friends
SUPPORT US
Give A Little
Did you know that the Hamilton Civic Choir has a Give A Little page? Any donations of over $5 are eligible for a NZ charitable giving tax credit.
If you’d like to donate, please click the button, or you can visit our Give A Little page.
Or, if you’d like to discuss making a larger contribution to the choir please email our treasurer, accounts@hamiltoncivicchoir.org.nz
Hamilton Civic Choir Foundation
The enduring purpose of the Foundation is to assist the Hamilton Civic Choir to perform quality music to a high standard for inspiration and enjoyment of audiences and performers alike. The Foundation holds an endowment fund which generates income to provide Hamilton Civic Choir with support for special projects and back up for unforeseen circumstances.
Donations to the Foundation qualify for a tax rebate as it is registered as a charitable organization. If you would like to make a donation and/or bequest to the Hamilton Civic Choir Foundation please contact:
Hamilton Civic Choir Foundation
Contact: Kath Barnsley
Email: kbarnsley@xtra.co.nz
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