Full Catalogue

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Ngana is perhaps the most famous of Leek’s compositions and is sung across the globe. Ngana is a traditional word for shark and the textures and images of this highly energetic work capture the rippling colours of the Great Barrier Reef and all that live in the waters there. The work is voiced for the following – SATB a cappella, SSAA a cappella, SSA a cappella and TTbarB a cappella.

Pronounced “ungahyulyul” meaning “hawk dreaming”. The text reflects the thoughts of the sheep farmer herding his sheep, ever aware of the hawk circling overhead. The second of Stephen Leek’s Songs of Passage, this is a highly evocative and beautiful composition using easy but effective modern compositional techniques. Commissioned by Graeme Morton’s St Peters Chorale.

**This piece is currently in preparation. For more information, or to purchase a PDF version, please email admin@mortonmusic.com.**

Voted the most unforgettable Australian TV moment, Julia Gillard’s 2012 “misogyny speech” presented in parliament is well-known to all Australians. In this powerful setting, Davidson syncs recorded clips of the work with choral imitation, accompaniment and even commentary (“hear, hear!”).

Typical of his style, Davidson’s text-setting is exceptionally innovative and text is without doubt the structural core of the work. For another example of this style see Davidson’s Finest Hour (setting of a speech by Winston Churchill).

The conductor listens to a click track through earphones (it’s preferable that these are worn discreetly, and should be either in-ear earbuds or, ideally, bone conduction headphones where available, as these leave the ear free to listen). The work may be performed with video or audio; in both cases, the audio track contains the click track on the left channel and the speech on the right channel. The left channel should be sent only to the conductor’s headphones, and the right channel to front-of-house loudspeakers. It’s possible to perform the piece with a very simple speaker setup, such as using a single speaker placed amongst the singers.

Click here to watch the Australian Voices, for whom the work was composed, perform “Not Now, Not Ever!”.

New to Morton Music – digital copies are now available from RSCM Music Direct (UK) via the Other Countries link.

Nunc Dimittis (Opus 89) was written in 2011 in response to a commission from the Brisbane Chamber Choir who had already performed Andrew Schultz’s Magnificat and wanted to have Nunc Dimittis to perform with the earlier work. The setting of the text parallels the dramatic flow of the original text, The Song of Simeon. The work moves from a world of clouded uncertainty through exultation and revelation to a final passage of transcendent simplicity and tranquillity.  Marked ‘Flowing’ the Nunc Dimittis is similar to Magnificat in the tempo and meter (3/2) and in the ebb and flow between four and eight part vocal writing. The first performance of Nunc Dimittis was given by the Brisbane Chamber Choir conducted by Graeme Morton at St John’s Cathedral, Brisbane, in August 2012.

Listen now

Duration: approximately 5 minutes

Magnificat (Opus 79) sold separately was composed over the summer of 2008-2009. The work is an a cappella setting of the Latin Vulgate text and was written in response to a commission from the Sydney Chamber Choir.  Marked ‘Calm and gentle – with flow’ the score carries an inscription from Emily Bronte’s poem of creativity, Last Lines, “No coward soul is mine.”

New to Morton Music – digital copies are now available from RSCM Music Direct (UK) via the Other Countries link.

Suitable for college or church choir. A strophic setting that builds to an exciting climax. Appropriate for Advent or Christmas use.

This setting captures the sense of longing that can be found in the text.

Composer Joe Twist writes,

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.

An Australian interpretation of a traditional English folksong. Appropriate for various groups but particularly suitable for women’s voices. SSAA unaccompanied.

The demonstration recording is:
Once I Had A Sweetheart, trad. arranged Mark Puddy: Perth Modern School (Western Australia) Schola Cantori, 2006.

Part Needle, Part Thread was composed in 2020 for the Adelaide Chamber Singers, though due to the COVID-19 pandemic, was unable to be performed at the World Choir Games in Belgium as intended. It was later video recorded by the Adelaide Chamber Choir for online release.

The text by Ann Nadge explores the delicate connection between love and time, describing that connection as an entity, a process and a protection against emotional darkness. Carl Crossin, effortlessly weaves the voices between each other, painting the metaphor of needle and thread before time seemingly stops in the dramatic B section. Listen below.

Australia’s most iconic choral work to date, and featured on the Hollywood film Boychoir. This version is for SA divisi choir a cappella. There is also a treble voice version of the score for choir and an accompaniment for cello only.

Commissioned (in the SATB version) for Graeme Morton’s high school choir, the work can be performed by choirs of modest training, and yet has made it all the way to Chanticleer, and other professional groups, such is its broad appeal.

Accompaniment available for Full Orchestra or Concert Band, String Orchestra or Cello Ensemble.

Recording by The American Boychoir · Fernando Malvar-Ruiz · Sarah Hopkins

Australia’s most iconic choral work to date, and featured on the Hollywood film Boychoir. This version is for SATB divisi choir a cappella. MM2003 is a treble version and MM2004 uses the treble voice version of the score for choir and an accompaniment for celli only.

The work distinctively features Harmonic Overtone Singing. A rehearsal guide to Past Life Melodies, also available through Morton Music, shows you how to teach this technique to your choir.

Commissioned by Graeme Morton’s high school choir, the work can be performed by choirs of modest training, and yet has made it all the way to Chanticleer, and other professional groups, such is its broad appeal.

Accompaniment available for Full Orchestra or Concert Band, String Orchestra or Cello Ensemble.

New to Morton Music – digital copies are now available from RSCM Music Direct (UK) via the Other Countries link.

This well-loved text, often referred to as the “Shepherd’s Psalm” offers the promise of comfort and solace in times of turmoil and distress. It is often paraphrased and sung as a hymn or sung in chant.

Here Australian composer John Nickson’s setting is more in the form of an unaccompanied motet, suitable for choral performance within liturgical or concert settings.

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Queenscliff is a popular song for more advanced primary-aged choir with words written by the students of the Eltham East Primary School Choir. Experience the ferry journey across the bay as the wind howls and the seas swell. The work is voiced for SA and piano.

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 be like to be in a thunderstorm. The work eventually becomes a sort of rain dance with chanting of “Wandjina”, an Australian Aboriginal rain spirit.

Recording by Gondwana Voices, January 2013 at Verbrugghen Hall (Conservatorium of Music in Sydney).

The first of the Ancient Cries set; Rainbird begins with a dramatic and evocative piano introduction and includes some Australian aboriginal words as well as aleatoric sounds.

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Rainstorm from Reef Songs is suitable for SSATB and percussion.

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Suitable for SAB and piano, Raintree was written for the students of the school whilst the composer was In Residence. Hanging heavily over The Cathedral School of St Anne and St James in Townsville, Australia, a gigantic raintree spreads its tentacles offering shade from the searing heat. The limbs of the trees are so large and heavy that they are supported by timber structures that piece the bitumen of the playground.

This seven page compendium of information and resources helpful to choir directors, choristers and music students. Much of the material in this booklet is different from that in the CD. There is biographical information, a discussion on the process of composition and suggestions for rehearsal. It includes information on Sarah’s compositional process, Rehearsal suggestions, frequently given feedback to Choirs plus bio info.

A  short song by Sarah Hopkins in a vibrant, joyful style. This is a combined score that can be used by either treble or mixed voices. The work divides into seven parts but many parts use sustained single tones so a choir of reasonable ability can perform the work. SA or SATB a cappella (or accompanied by any treble ensemble).

“Riawanna” is an Australian native word for “circles” and the piece is a do-it-yourself round with thousands of possibilities. It includes mixed meters. The final instruction in the accompanying notes says it all: “have fun”.

The sound file is by Eltham East Primary School Choir’s CD Sea Shapes, conducted by Anne Williams.

In the wake of the COVID-19 pandemic, Carl Crossin writes that the brief given to him in the commission of this work was that the song be “uplifting and life affirming” – and that it certainly is. A wonderful piece for secondary choir.

“Rise” is also available for SSAA voicing.

In the wake of the COVID-19 pandemic, Carl Crossin writes that the brief given to him in the commission of this work was that the song be “uplifting and life affirming” – and that it certainly is. A wonderful piece for secondary choir.

“Rise” is also available for SATB voicing.

“Did you hear the children singing as our troops went marching past?

In the sunshine and the rain as they’ll never sing again.”

The piece opens with a whispered “Boom ratatata”, which continues in the bass part, an instantly recognisable military motif. Contrasting “sobs” and “cheers”; “singing” with “orphan children”, this piece is a poignant reminder of the cost of war.

Recently published by Morton Music for SATB a cappella choir.

This new piece, using text from Henry Lawson and Stephen Cronin, is also available as Double Choir.

This new piece, using text from Herry Lawson and Stephen Cronin, is also available as SATB

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Sanctus is for SATB a cappella and SSAA a cappella, and can be paired with Leek’s “Agnus Dei” or sung as a stand-alone work. This highly energetic offering is suitable for community and adult choir and pairs the traditional ideas of the Sanctus with more holistic ideas of the sentiments through texts by Australian write, Michael Doneman.

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Sanctus is for SATB a cappella and SSAA a cappella, and can be paired with Leek’s “Agnus Dei” or sung as a stand-alone work. This highly energetic offering is suitable for community and adult choir and pairs the traditional ideas of the Sanctus with more holistic ideas of the sentiments through texts by Australian write, Michael Doneman.

This seventy minute CD includes spoken commentary from Sarah Hopkins as she rehearses Past Life Melodies with St Peters Chorale and we also hear inspiring performances of the full piece. This is a marvelous resource which has the composer’s stamp of authority!

A four-part arrangement for treble voices of the traditional American folk song that concludes with the most magical and ethereal sounds!

Also available in SSAA voicing

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Simple Gifts is a four-part arrangement for treble voices of the traditional American folk song that concludes with the most magical and ethereal sounds!   Leek takes this very well known melody and weaves his own unique magic around it. Suitable for choirs of any age and level and is arranged for SATB and piano, SSAA and piano and SSATB a cappella.

A four-part arrangement for treble voices of the traditional American folk song that concludes with the most magical and ethereal sounds!

Also available for SATB

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Simple Gifts is a four-part arrangement for treble voices of the traditional American folk song that concludes with the most magical and ethereal sounds!   Leek takes this very well known melody and weaves his own unique magic around it. Suitable for choirs of any age and level and is arranged for SATB and piano, SSAA and piano and SSATB a cappella.

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Simple Gifts is a four-part arrangement for treble voices of the traditional American folk song that concludes with the most magical and ethereal sounds!   Leek takes this very well known melody and weaves his own unique magic around it. Suitable for choirs of any age and level and is arranged for SATB and piano, SSAA and piano and SSATB a cappella.

Sing Out! was commissioned for Australian Society of Music Education Conference 2005 as the opening massed work. It is a short, fun, rhythmic piece to be sung ‘with joy’.

The composer arranged the text using both his own verses in English and traditional Australian words. The latter have a sonorous quality and also match the theme of the song. The result is a work with a distinct Australian flavour which paints a visual image of the Australian outback. SSAA unaccompanied.

Listen to Sky Song on Spotify or Apple Music.

NOW AVAILABLE

Written after Perth’s first lockdown due to Covid-19, this simple yet lush setting of Coleridge’s poetry expresses a first glimpse of hope and return to normality. Both an expressive longing and a gentle dreaming to be with someone far away resonates through the harmony and melodic gestures.

A robust arrangement which includes two versions of an Australian sea shanty. The composer also sanctions a cappella performances.

New Release – One of Stephen Leek’s exclusive digital releases directly through Morton Music – email admin@mortonmusic.com for details.

Split Point is a treble and piano 2-part piece and is a popular song for medium level primary-aged choir with words written by the students of the Eltham East Primary School Choir. It is fun to run around the lighthouse as its light rotates and protects the vessels out to sea.

Another in the Songs of Passage set, “tabulam” means “my home”. This song captures the energy and life of music-making from the north of Australia where part-singing is joyous, spontaneous and often improvised. The writing is lush, rich and repetitive. Commissioned by Graeme Morton’s St Peters Chorale.

Talking to my Shoe is the first piece in a collection of four pieces for treble voices and piano.

Composer Paul Stanhope writes:

Losing the Plot is a collection of songs for children’s voices and piano with texts by Michael Leunig. They were written as a follow up to my earlier cycle of Leunig pieces called Songs of Innocence and Joy for treble voices and chamber orchestra.

The first of these pieces, Talking to My Shoe was commissioned and premiered by the Sydney Children’s Choir as part of their 15th anniversary in 2004. The remaining three songs in the cycle were commissioned by the Network of Treble Ensembles (NoTE) which includes Brisbane Biralee Voices, Gondwana Voices,Young Adelaide Voices and Young Voices of Melbourne. All the songs in this set are tinged with an exuberant sense of the absurd, but as usual with Leunig’s texts, there are many layers of meaning and often twists in the tale.

The songs are written for upper-primary to high-school aged treble voices mostly in unison and two parts. In two songs—Talking to My Shoe and La–La Land—the choir splits into three parts, but only in a couple of short passages. A more difficult version of this piece also exists with the voices divided into three parts.

Permission should be sought from Penguin Books Australia before re-printing any of the texts.

The recordings are by the Australian Boys Choir conducted by Noel Ancell.