IAIN HAMILTON
IAIN HAMILTON
Iain Hamilton was born in Glasgow, Scotland on June 6th, 1922, and died July 21st, 2000, in London. An important figure in music on both sides of the Atlantic, he was a composer of both stage and concert works, whose music has been praised for the "brilliance of its orchestral textures…uninhibited lyricism" (Anna Karenina—Opera) and "a vast terrain of color, movement, expression and invention" (Voyage—Horn and Chamber Orchestra). These quotes are typical of the critical commentaries on Mr. Hamilton’s music, which constantly refer to the color, texture, variety, lyricism and craftsmanship.
Following his schooling in London, he became an apprentice engineer, and remained in that profession for the next seven years. In his free time he undertook the study of music. After winning a scholarship to study at the Royal Academy of Music, he decided to devote himself wholly to a musical career. He went on to win a Koussevitsky Foundation award, the Royal Philharmonic Society’s prize, and the Academy’s highest honor, the Dove Prize. He earned the Bachelor of Music degree from London University and was awarded an honorary Doctorate of Music from Glasgow University.
Long important in British musical circles, Mr. Hamilton’s influence also extended to the United States, where he lived for 20 years (1961 to 1981). From his home in New York City, he commuted to Duke University, where he was Mary Duke Biddle Professor of Music. He then returned to London, where he lived until his death. In April, 2002, the Mary Duke Biddle Foundation unveiled a bas-relief commemorating the composer in the Music Department at Duke
University.
Mr. Hamilton’s extensive catalogue comprises works in all genres, including orchestral, chamber, vocal, solo, and also opera, the category for which he was arguably best known. He wrote 12 operas, including The Catiline Conspiracy, Anna Karenina, and The Royal Hunt of the Sun. They received performances (and also revivals, in several cases) by such companies as Scottish Opera, English National Opera, and the BBC. The Catiline Conspiracy was hailed as "a masterpiece" in The Scotsman
headline after its 1974 premiere in Stirling, the Glasgow Herald noting in addition that "there could hardly have been a member of [the] audience who was not reminded of Watergate." Anna Karenina, premiered by English National Opera in 1978, was first performed in North America in 1982 by the Los Angeles Opera Theater. Raleigh’s Dream was commissioned for the North Carolina British-American Festival at Duke University in 1983, where it was premiered at the celebrations for the tercentenary of the founding of Raleigh’s colony in 1584.
In the concert hall, Mr. Hamilton’s works have been performed by many of the leading British orchestras and ensembles; among his compositions from his final years are The Transit of Jupiter (first performed
by the BBC Scottish Symphony under Jerzy Maksumiuk in 1995), and Bulgaria: Invocation/Evocation for Orchestra. In the United States, commissions included those of the Eastman School of Music for Piano Sonata No. 3 and the Library of Congress for Hyperion for chamber ensemble. In 1996, the New York Philomusica premiered the 1993 Piano Quintet with performances in Pearl River and New York City. His last works include The Wild Garden (5 pieces for Clarinet and Piano) and London: A Kaleidoscope for Piano and Orchestra, written in 2000.
In addition to composing, he was a teacher, organizer of contemporary music concerts, chairman of the Composers’ Guild, and served on panels and committees for such organizations as the Music Advisory Panel of the BBC. |
Antigone for Wind Octet (1991) -- 20'
Fl., Cl., 2Bsn., 2Tpt., T.Tbn., B.Tbn.
Available from the Presser Rental Library
Aria for Horn and Piano
Available From Publisher (Schott Music International)
Brass Quintet
Available From Publisher (Schott Music International)
Capriccio for Trumpet and Piano
Available From Publisher (Schott Music International)
Five Scenes for Trumpet and Piano (1966) -- 10'
Published: #114-40155
Commission Information: Written for Robert Nagel and Gilbert Kalish.
Premiere Information: Robert Nagel, trumpet and Gilbert Kalish, piano, Duke University
• Recordings
• Reviews
Flute Quartet, Op. 12 for Flute and String Trio (1951) -- 17'
Published: #114-40554
Commission Information: Written for Gareth Morris and the Londo String Trio.
Premiere Information: Gareth Morris, flute and the Londo String Trio
Hyperion for Five Players (1977) -- 23'
Cl., Hn., Vln., Vcl., Pno.
Available from the Presser Rental Library
Commission Information: New York Philomusica with funding through the Elizabeth Sprague Coolidge Foundation in the Library of Congress
Premiere Information: January 20, 1978, New York Philomusica, Library of Congress,Washington, DC
• Recordings
Available Separately:Score and parts (114405550)
In Summer for Oboe and Piano (1999) -- 16’
Published: #114-41061
Octet for Strings for Double String Quartet (1954) -- 20'
4Vln., 2Vla., 2Vcl.
Available from the Presser Rental Library
Commission Information: University of Glasgow
Piano Quintet for Piano with String Quartet (1993) -- 22'
Published: #114-40731
Premiere Information: October 5, 1996, New York Philomusica, Pearl River, NY
Available Separately:Set of parts (11440731P)
Full Score - Large (11440731S)
Quintet No. 1 for Clarinet and String Quartet (1948) -- 20'
Published: #114-40595
Available Separately:Set of parts (11440595P)
Full Score - Large (11440595S)
Sea Music: Quintet No. 2 for Clarinet and String Quartet (1974) -- 18'
Published: #114-40556
Commission Information: Janet Hilton
Premiere Information: Lindsay Quartet and Janet Hilton, clarinet, Bath Festival, May 1975
• Reviews
Available Separately:Set of parts (11440556P)
Full Score - Large (11440556S)
Serenata for Violin and Clarinet (1955) -- 10'
Published: #114-40164
Sextet for Flute, Two Clarinets, Violin, Cello and Piano
Available From Publisher (Schott Music International)
Sonata for Five for Flute, Oboe, Clarinet, Bassoon and Horn
Available From Publisher (Schott Music International)
Sonata for Flautist and Piano (1966) -- 15'
Published: #114-40160
Commission Information: Written for Severino Gazzelloni
Premiere Information: Severino Gazzelloni, Venice Festival in 1966
• Recordings
Sonata No. 1 for Violin and Piano (1974) -- 20'
Published: #114-40232
Premiere Information: Hampstead Music Club, London, in March 1975
• Reviews
Sonata No. 2 for Violoncello and Piano (1974) -- 16'
Published: #114-40231
Premiere Information: Joan Dickson, cello and Joyce Rathbone, piano, January 1975, Wigmore Hall
Sonata Notturna for Horn and Piano
Available From Publisher (Schott Music International)
Spirits of the Air for Solo Bass Trombone (1977) -- 10'
Published: #114-40501
Spring Days for Flute and Piano (1996) -- 5’
Published: #114-40848
Movements:
• Primroses
• Swifts
• The Linnet
• Reviews
String Quartet No. 1
Available From Publisher (Schott Music International)
String Quartet No. 2
Available From Publisher (Schott Music International)
String Sextet (1988) -- 18'
2Vln., 2Vla., 2Vcl.
Available from the Presser Rental Library
The Chaining of Prometheus for Band or Large Wind Ensemble (1963) -- 10'
2-2-5-2-3Sax.; 4-3-3-1; Euph., Timp., 3 Perc.
Available from the Presser Rental Library
Commission Information: Duke University Concert Band
Premiere Information: Duke University Concert Band, 1964
Three Nocturnes for Clarinet and Piano, Op. 6
Available From Publisher (Schott Music International)
Trio for Violin, Cello and Piano, Op. 25
Available From Publisher (Schott Music International)
Wild Garden Five Pieces for Clarinet and Piano
Available From Composer
Christ’s Nativity for SATB and Organ (1989) -- 3'
Published: #312-41582
Cradle Song for SATB and Piano -- 3'
Published: #312-41342
Mass in A (1980) -- 30'
SSATTB, a cap.
Published: #442-41008
Premiere Information: April 4, 1981 by the London Chorale, David Colman conducting, Queen Elizabeth Hall, London
Movements:
• Agnus Dei
• Amen di Missa
• Benedictus
• Credo
• Dona nobis pacem
• Gloria
• Hosanna
• Kyrie eleison
• Sanctus
• Reviews
Nocturnal for SATB Chorus
Available From Publisher (Schott Music International)
Prometheus for Soprano, Mezzo, Tenor and Baritone Soloists, SATB Chorus and Orchestra (1986) -- 60'
3-3-3-3; 4-3-3-1; Timp., Perc., Hp., Str.
Available from the Presser Rental Library
• Reviews
Available Separately:Full Score - Large (412410700)
Requiem for Mixed Chorus, a cappella (1979) -- 30'
SATB Chorus, a cappella
Available from the Presser Rental Library
Available Separately:Piano/Vocal Score (412410690)
Te Deum, Homage to Venice for Mixed Chorus, Wind Ensemble and Percussion (1973-74) -- 20'
Solo group: Fl., Ob., Cl., Hn.
Antiphonal group: Tpt. in C, Tbn., (opt. dbl.).
Main Orch.: 0-2-2-2; 4-2(C)-3-0; Timp., Perc.
Available from the Presser Rental Library
Premiere Information: Duke Chorale, the Duke Wind Symphony and the Fletcher Artists from the North Carolina Symphony at the dedication of the Mary Duke Biddle Music Building, Duke University, NC
• Reviews
Available Separately:Piano/Vocal Score (412410600)
The for Mixed Chorus and 10 Winds (Poems by Henry Vaughan)
Available from the Presser Rental Library
The Bermudas for Baritone, SATB Chorus, and Orchestra, Op. 33
Available From Publisher (Schott Music International)
The Bright Heavens Sounding (1985) -- 28'
SATB Soloists and Chorus, Fl., 2 Ob., Bsn., 2 Hn., 2 Tpt. in C, Str.
Published: #412-41068
Premiere Information: June 27, 1986, Camden Choir, Julian Williamson conducting, Barbican Hall, London
The Convergence of the Twain for SATB and Piano (1985) -- 4' 30''
Published: #312-41483
The Descent of the Celestial City from "Epitaph For This World And Time" (1972) -- 22'
SATB and Org.
Published: #312-41004
The Fray of Suport for SATB Chorus, a cappella, Op. 21
Available From Publisher (Schott Music International)
The Golden Sequence (1973) -- 22'
SATB Chorus, Congregation and Organ
Published: #312-41036
Available Separately:Piano/Vocal Score (416411060)
Midsummer
Published: #312-41529
To Columbus (1975) -- 20'
Mixed Chorus, 3Tpt., 3Tbn., 3Perc.
Available from the Presser Rental Library
Available Separately:Choral Part(s) (312411310)
Vespers, 1980 (1980)
Mixed Chorus, 2Pno., Hp., Perc.
Available from the Presser Rental Library
Premiere Information: February 15, 1981, Duke University Chapel Choir and Chorale
• Reviews
Alastor for Orchestra (1970) -- 20'
3-3-3-3; 4-3-3-1; Timp., Perc., 2 Hp., Pno., Str.
Available from the Presser Rental Library
Commission Information: Scottish National Orchestra for its 21st Anniversary Festival, 1971
Available Separately:Full Score - Study (416410870)
Amphion Concerto No. 2 for Violin and Orchestra (1971) -- 25'
2-2-2-2; 4-2-2-0; Perc., Pno., Str.
Available from the Presser Rental Library
Commission Information: BBC to celebrate the 50th anniversary of broadcasting
Available Separately:Full Score - Study (416410880)
Arias for Chamber Orchestra
Available From Publisher (Schott Music International)
Aurora for Orchestra (1975) -- 12'
3-3-3-3; 4-3-3-1; Timp., Perc., Hp., Str.
Available from the Presser Rental Library
Premiere Information: November 21, 1975, Scottish National Orchestra, Alexander Gibson conducting, Carnegie Hall, NY
• Reviews
Available Separately:Full Score - Study (416411020)
Bartholomew Fair Overture for Orchestra, Op. 17
Available From Publisher (Schott Music International)
Bulgaria: Invocation / Evocation for Orchestra (1999) -- 23’
2-2-2-2; 4-3-3-1; Timp., Perc., Hp., Str.
Available from the Presser Rental Library
Cantos for Orchestra
Available From Publisher (Schott Music International)
Circus for Two Trumpets and Orchestra (1969) -- 20'
2-2-2-2; 4-0-3-1; Timp., Perc., Hp., Gtr., Str.
Available from the Presser Rental Library
Commission Information: BBC
Premiere Information: BBC Symphony Orchestra, John Pritchard conducting, January 21, 1970, Royal Festival Hall, London
• Reviews
Available Separately:Full Score - Large (416410900)
Clarinet Concerto for Clarinet and Orchestra, Op. 7
Available From Publisher (Schott Music International)
Cleopatra Dramatic Scene for Soprano and Orchestra (1977) -- 21'
2-2-2-2; 4-2-3-0; Timp., Perc., Hp., Str.
Available from the Presser Rental Library
Commedia Concerto for Orchestra (1972) -- 25'
3-3-3-3; 4-3-3-1; Timp., Perc., Hp., Str.
Available from the Presser Rental Library
Commission Information: London Symphony Orchestra
Premiere Information: London Symphony Orchestra, May 4, 1973, Royal Festival Hall, London
Ecossaise for Orchestra
Available From Publisher (Schott Music International)
In Changing Light Four Impressions for Orchestra (1993) -- 22’
2-2-2-2; 4-3-3-1; Timp., Perc., Hp., Str.
Available from the Presser Rental Library
Jazz Trumpet Concerto for Jazz Trumpet and Orchestra, Op. 37
Available From Publisher (Schott Music International)
Jubilee for Orchestra
Available From Publisher (Schott Music International)
London: Kaleidoscope for Piano and Orchestra
Available From Composer
Organ Concerto for Organ and Orchestra
Available From Publisher (Schott Music International)
Available Separately:Full Score - Study (416410890)
Scottish Dances for Orchestra, Op. 32
Available From Publisher (Schott Music International)
Sinfonia for Two Orchestras
Available From Publisher (Schott Music International)
Sonatas and Variants for Orchestra
Available From Publisher (Schott Music International)
Symphonic Variations for Orchestra, Op. 19
Available From Publisher (Schott Music International)
Symphony No. 1
Available From Publisher (Schott Music International)
Symphony No. 2
Available From Publisher (Schott Music International)
Symphony No. 3 in G "Spring" for Orchestra (1981) -- 26'
2-2-2-2; 2-0-0-0; Str.
Available from the Presser Rental Library
Premiere Information: Scottish Chamber Orchestra, Roderick Brydon, conducting, January 1982
• Reviews
Symphony No. 4 in B for Orchestra (1981) -- 50'
3-3-3-3; 4-3-3-1; Timp., Perc., Hp., Str.
Available from the Presser Rental Library
Premiere Information: Scottish National Orchestra, January 21, 1983, Usher Hall, Edinburgh
• Reviews
The Alexandrian Sequence fro Chamber Orchestra (1976) -- 24'
1-1-1-1; 1-1-1-0; 2Vln., Vla., Vcl., Cb.
Available from the Presser Rental Library
The Transit of Jupiter for Orchestra (1995) -- 17’
2-2-2-2; 4-3-3-1; Timp., Perc., Hp., Str.
Available from the Presser Rental Library
Variations on an Original Theme for Strings, Op. 1
Available From Publisher (Schott Music International)
Violin Concerto for Violin and Orchestra, Op. 15
Available From Publisher (Schott Music International)
Voyage for Horn and Chamber Orchestra (1970) -- 18'
1-1-1-0; 0-2-1-0; Perc., Pno., Str. (single or multiple)
Available from the Presser Rental Library
Commission Information: London Sinfonietta, for Barry Tuckwell
Premiere Information: February 26, 1971, Barry Tuckwell and the London Sinfonietta, Queen Elizabeth Hall, London
• Recordings
• Reviews
Available Separately:Full Score - Study (416410910)
A Vision of Canopus for Organ Solo (1975) -- 10'
Published: #113-40029
Aubade for Organ Solo (1965) -- 6'
Published: #113-40022
Fanfares and Variants for Organ Solo
Available From Publisher (Schott Music International)
Le Tombeau de Bach Eight Reflections on Six Chorales for Organ Solo (1986) -- 20'
Published: #413-41142
Paraphrase Based on the music for organs in "Epitaph for This World and Time" (1970) -- 10'
Published: #113-40027
Roman Music for Organ Solo
Available From Composer
A Field of Butterflies for Piano Solo (1990) -- 12'
Published: #410-41290
Movements:
• The Emperor
• The Fritillary
• The Nevada Blue
• The Orange Tip
• The Peacock
• The Red Admiral
• Reviews
Le Jardin de Monet Nine Movements for Piano Solo (1986) -- 30'
Published: #410-41279
• Recordings
Months and Metamorphoses Volume 1: January, February, March, April
Published: #410-41314
Months and Metamorphoses Volume 2: May, June, July August
Published: #410-41315
Months and Metamorphoses Volume 3: September, October, November, December
Published: #410-41316
Nocturnes with Cadenzas for Piano
Available From Publisher (Schott Music International)
Palinodes for Piano Solo (1972) -- 18'
Published: #410-41206
Commission Information: National Federation of Music Clubs of America (NFMCA)
Premiere Information: Katherine Wolpe, 1973 NFMCA Convention in Atlantic City
• Recordings
Piano Sonata No. 1 for Piano Solo (1951, rev. 1971) -- 20'
Published: #410-41201
Piano Sonata No. 2 for Piano Solo (1973) -- 15'
Published: #410-41213
Commission Information: Ford Foundation, for Michael Ponti
Premiere Information: Michael Ponti, December 14, 1974, Hunter College, NY
• Reviews
Piano Sonata No. 3 for Piano Solo (1978) -- 22'
Published: #110-40698
Premiere Information: March 29, 1981 by Gary Steigerwalt, Abraham Goodman House, New York
• Reviews
Three Piano Pieces, Op. 30
Available From Publisher (Schott Music International)
Agamemnon Dramatic Narrative in One Act (1987) -- 60'
1 Sop., 1 Mezzo-sop., SATB Chorus.
4 Perc., Xylo., Marim., Glock., Timp., Hp., Cel., Pno.
Available from the Presser Rental Library
Anna Karenina Opera in Three Acts (1978) -- 135'
4 Sop., 2 Mezzo-sop., 1 Alto, 2 Ten., 3 Bar., 2 Bass, Boy Soprano, SATB Chorus.
2-2-2-2; 4-3-3-1; Timp., 2 Perc., Hp., Str.
Available from the Presser Rental Library
• Reviews
Available Separately:Piano/Vocal Score (411410730)
Libretto (412410630)
Lancelot Opera in Two Acts (1982-83) -- 120'
8 Soloists: 2 Sop., 1 Mezzo-sop., 2 Ten., 2 Bar., 1 Bass,
2-1-1-1; 2-2-0-0; Perc., Hp., Str.
Available from the Presser Rental Library
Commission Information: Arundel Festival
Premiere Information: Tilting Yard at Arundel Castle, August 24, 1985
• Reviews
London's Fair Lyric Comedy in Two Acts (1992) -- 120'
2 Sop., 2 Mezzo-sop., 1 Contr., 4 Ten., 3 Bar., 2 Bass, 1 mimed role, SATB Chorus.
2-2-2-2; 4-3-3-1; Timp., 2 Perc., Hp., Str.
Available from the Presser Rental Library
On the Eve Opera in Two Acts (1980-96) -- 110’
1 Sop., 1 Mezzo-sop., 3 Ten., 2 Bari., 1 Bass.
2-2-2-2; 4-2-2-1; Timp., Perc., Hp., Str.
Available from the Presser Rental Library
Pharsalia Dramatic Commentary for Voices, Narrator and Orchestra (1968) -- 25'
2 Sop., 1 Alto, 1 Ten., 1 Bar., 1 Bass, Narrator.
1-0-1-0; 1-1-1-0; Perc., Pno., Hp., Vln., Vla., Vcl.
Available from the Presser Rental Library
Pharsalia Dramatic Commentary for Voices, Narrator and Orchestra (1968) -- 25'
2 Sop., 1 Alto, 1 Ten., 1 Bar., 1 Bass, Narrator.
1-0-1-0; 1-1-1-0; Perc., Pno., Hp., Vln., Vla., Vcl.
Available from the Presser Rental Library
• Reviews
Raleigh's Dream Opera in Prologue and Eight Scenes (1983) -- 85'
1 Ten., 3 Bar., 1 Bass-Bar., 1 Sop., 1 Mezzo-sop., STB Chorus.
1(Picc.)-1(E.Hn.)-1-1; 1-1-1-0; Perc., Hp., Str.
Available from the Presser Rental Library
Commission Information: North Carolina British-American Festival, Duke University by the Mary Duke Biddle Foundation and Dr. James Semans
Premiere Information: June 3, 1984, Reynolds Theater, Duke University, NC
Tamberlaine Lyric Drama in One Act for Radio (1976) -- 90'
1 Sop., 1 Mezzo-sop., 1 Alto, 2 Ten., 1 Bar., 2 Bass, SATB Chorus.
2-2-2-2; 4-3-3-1; Timp., 4 Perc., Pno., Cel., Hp., Str.
Available from the Presser Rental Library
Commission Information: BBC
Premiere Information: March 14, 1977 on BBC-Radio 3
• Reviews
The Catiline Conspiracy Opera in Two Acts (1973) -- 120'
2 Sop., 1 Mezzo-sop., 1 Alto, 3 Ten., 4 Bar., 3 Bass, SATB Chorus.
2-2-2-2; 3-2-3-0; 2 Perc., Hp., Str.
Available from the Presser Rental Library
Premiere Information: March 16, 1974, Scottish Opera, Alexander Gibson conducting, MacRobert Centre, Sterling, Scotland
• Reviews
Available Separately:Piano/Vocal Score (417410180)
Libretto (41741018L)
The Royal Hunt Of The Sun Opera in Two Acts (1968) -- 130'
2 Ten., 2 Bar., 1 Bass, many smaller roles (all male voices), SATB Chorus.
2-2-2-2; 4-3-3-1; Timp., 4 Perc., Marim., Xylo., Org./Cel., Pno., Hp., Str.
Available from the Presser Rental Library
Premiere Information: February 2, 1977 by the National English Opera, London Coliseum
• Reviews
Available Separately:Piano/Vocal Score (411410650)
Libretto (412410620)
The Tragedy of Macbeth Opera in One Act (1994) -- 100'
1 Sop., 1 Mezzo-sop., 2 Ten., 1 Bar., 1 Bass.
2-2-2-2; 2-2-2-1; Timp., Perc., Hp., Str.
Available from the Presser Rental Library
A Testament of War for Baritone and Orchestra
Available From Publisher (Schott Music International)
Cantata No. 1 for Tenor and Piano (1957) -- 9'
Published: #111-40130
Dialogues for Soprano and Five Instruments
Available From Publisher (Schott Music International)
Five Love Songs for High Voice and Orchestra, Op. 36
Available From Publisher (Schott Music International)
Love is Life’s Spring Setting of a poem by John Clare for Soprano and Piano
Available From Composer
Paris de Crépuscule à l’aube Six settings of Baudelaire (Piano reduction)
Available From Composer
Paris de Crépuscule à l’aube Six settings of Baudelaire for Voice and Orchestra
Available From Composer
Ricordanza for High Voice and Orchestra (1981) -- 25'
Available from the Presser Rental Library
Songs of Summer (Version for Voice, Clarinet, Cello and Piano)
Published: #411-41061S
Songs of Summer for High Voice and Piano (1954) -- 10'
Published: #411-41061
The Spirit of Delight Songs of Life, Love and Death (1978) -- 60'
Soprano, Baritone, and Piano
Published: #111-40127
Commission Information: Jane Manning and Richard Jackson with the support of the Arts Council of Great Britain
 | Voyage for Horn and Chamber Orchestra |
"It is a subtly structured, six-movement work in which variants of the first two movements return as part of the final two movements. Between these pairs is an eloquent slow movement and a brilliant cadenza. The uncomplicated harmonic language is quite neo-classical, and full advantage is taken of the piano's virtuoso and coloristic possibilities."-John McInerney, Musical America
"Lyrically concentrated and elegantly crafted, these vignettes call for the most subtle kind of expressive nuances."-Peter G. Davis, New York Times"The songs were atmospheric and subjective in character and still showed clarity of structure, economy, and considerable originality and inventiveness. ...the cycle appealed to the majority of the audience who gave the singer a warm response and lusty applause that was also intended for the absent composer. I hope many young singers will consider programming this major addition to contemporary vocal repertory."-Charles Horton, Chapel Hill Newspaper
"Hamilton's Five Scenes were a captivating exploration of various trumpet sonorities in a series of mood pieces …Strong, independent piano writing…"-Conrad Wilson, The Scotsman
"Although it makes an immediate impact, the subtleties of this very concentrated work are not to be appreciated in a single hearing… There can be little doubt that this work will come to be regarded both as one of the composer's finest achievements and as a major addition to the repertory."-Glasgow Herald"Hamilton has produced a well-conceived and interestingly executed twentieth-century sonata."-American String Teacher
"As its title suggests, Iain Hamilton's Sea Music has a rhapsodic quality. But it is at the same time a clarinet quintet in the form of a palindrome, so that its second half repeats in general outline and reverse order the events of the first, and thus combines a sense of musical order with freedom of movement. It is an attractive score, full of brilliance and light…"-London Observer
"A three-movement piece containing an impressive variety of ideas and textures and radiating a fluency, and at times ebullience… Hamilton has created something worthwhile and beautiful simply for itself."-The Times (London)
"The composer's language is well developed and utilised consistently throughout the work. …Students looking for something new and different in a contemporary style will find these pieces an enjoyable challenge without being too taxing. They are suitable for recital purposes, and offer plenty o scope for individual interpretation."-Johanna Selleck, Australian Music Teacher
"It is a short (12-minute) progress from from darkness to light – a nocturne and scherzo, in which tricky solo writing emerges from tenebrous, close-knit textures, and which ends in a sudden, splendid blaze. It is a strongly made, gripping composition." —"-Andrew Porter, The New Yorker"Aurora... was designed to show off its virtuosity, which it certainly does. ...In its color, brevity and clear form, it is easy to like."-Raymond Ericson, New York Times"The melodic preoccupation with sevenths, the pervading bitter sweet lyricism, the virtuoso orchestration with bold use of brass and the strong feeling of tonality all help make Hamilton a sort of latter-day Walton.""-Christopher Ford, New York Guardian
| Circus for Two Trumpets and Orchestra |
"A brilliantly forthright, individual and framatic piece of music...a shapely communicative work."-The Times (London)
"It is an attractive concert piece, cast in clear, light, mostly primary colours, and expertly put together."-Dominic Gill, Financial Times (London)
"Relentlessly brilliant… a tour de force."-The Scotsman
| Prometheus for Soprano, Mezzo, Tenor and Baritone Soloists, SATB Chorus and Orchestra |
"Impressive lyrical passages and… effectively stark and colourful orchestration."-The Cambridge Weekly News
"…a pleasant and successful essay in an undemanding and thoroughly accessible manner. …There are some ingenious passages of thematic working, and ingenuities of texture, too, in the course of this slight work, which should prove a gift to the slender modern repertory of smaller orchestras."-Desmond Shawe-Taylor, Sunday Times (London)
"The four movements of the new work carry, on the whole, not only an impressive charge of emotion but are sustained with a keen ear for timbre and a brave ear for tonality."-Conrad Wilson, The Scotsman
"It was a model of concision. It was impeccably composed with not a single note too many. The imaginative interplay of the chorus and the striking instrumental ensemble of wind, brass and percussion not only memorably conveyed the jubilation contained in the words, but also brilliantly evoked the unique quality and atmosphere of the city of Venice, to which it was also intended as an act of homage."-Robert Henderson, London Daily Telegraph"A blazing affirmation of the human spirit… extremely accessible at an initial hearing. Its impact will surely grow with repeated hearings… and should enter into the international repertory rapidly."-Durham Morning Herald
"…thoroughly British, thoroughly magnificent… The varied, impressive score substantiates clearly Hamilton's rank as the foremost of contemporary composers in England and possibly in the world. Vespers, 1980 is a major new work that will endure."-The Durham Sun"…an introspective, impassioned and humanistic testament to hope and serenity of the spirit… Vespers is a work of real beauty, holding the listeners attention and proving to be both moving and persuasive. It is a fine addition to the repertoire of choral compositions written in the 20th century."-Chapel Hill Newspaper
| Voyage for Horn and Chamber Orchestra |
"…a virtuoso piece of utterly contemporary demeanor. It is extraordinarily refined. The textures are glowingly transparent and loaded with vigor and color. The degree of musical intelligence and technical facility are impressive in the extreme."-Stereo Review"The thematic material is fragmentary but unbelievably rich in substance and amount. The work builds and builds and builds, exacting the utmost virtuosity from all concerned; it voyages over a vast terrain of color, movement, expression, and invention, never flagging for a second, but becoming more and more intense with each moment until you are left almost limp and exhausted with the power of this marvelous score… Now that Stravinsky is gone, let us rejoice that the world possesses an Iain Hamilton."-High Fidelity"It is undoubtedly one of Iain Hamilton's finest achievements, and it makes a strong emotional impact."-Glasgow Herald
"Hamilton crafts an extremely pianistic idiom, one that always fits the hands. He also understands uniquely pianistic overtones, neatly layering as many as three registers on top of each other, all enveloped by the pedal. As far as tonality is concerned, Hamilton does employ distinct tonal centers, though a rich bichordality defines many of the sonorities."-Piano & Keyboard
"It is sure to appeal to adventurous pianists with a mature technique and a flair for color. ...Striking in its contrast of ideas, moods, textures and figurations, it is a significant and welcome contribution from a composer who understands the piano extraordinarily well."-American Music Teacher"Iain Hamilton's [Sonata No. 2] is an awesome work, a dissonant exploitation of the keyboard in terms that recall the linear jaggedness of Schoenberg and the motoric repetition and vitality of Bartok."-Baltimore Sun"The Hamilton is an exceptionally effective work. It's a piece largely of textures and colors. Filled with bravura passages, it makes some of its most telling points through the interplay of sonorities…"-Allen B. Skei, Fresno Bee
"Six very colorful, less difficult concert pieces… good, short, up-to-date works."-Classical Piano
"Hamilton exhibits a remarkable ability to create different textures through clearly defined melodies, vital rhythms, varied and distinctive harmonic languages, and an unfailing knack for idiomatic piano writing. …Hamilton's use of different rhythmic patterns and subdivisions is both expressive and pedagogically instructive. …Book of Watercolors is an excellent resource for developing coloristic sensitivity to contemporary music…"-Quarterly Journal of the Music Library Association"This volume is a real 'must play' for exponents of modern piano music. It is demanding rhythmically and technically and consequently is destined for the advanced pianist."-Piano Journal
"An impressive world premiere. Mr. Hamilton uses… avant-garde devices with imagination and restraint. There are exceptionally fine passages, where voices echo and re-echo, and towards the end, sustain a pianissimo chord endlessly."-The New York Times"…Hamilton's work used an almost Penderecki-like palette of choral sound, calling for whispers and shouts as well as singing. One strength of Epitaph lies in the fact that he uses that palette in a consistent and disciplined way. …both vigorous and austere. …this piece is richly imagined and worked both effectively and consistently."-Stanley Sadie, London Times
"The most haunting musical impression of this Easter's music-making remains that of Iain Hamilton's extraordinarily beautiful The Passion of Our Lord According to Saint Mark."-Sunday Times (London)
"Making use of a large body of voices, the music is spacious, often restrained, but never austere in a merely negative sense, the ear being constantly beguiled. …Dr. Hamilton makes little use of overt contrast, dramatic or otherwise, establishing his points by means of continuity, the accumulation of effect and above all through lively counterpoints."-Max Harrison, London Times
"Hamilton shows his habitual skills and imagination in the art of operatic narrative, action moving at an exhilarating rate. Musical characterization is clear-cut, the active orchestral commentary is always relevant to stage action and emotion yet never overbears the singers. The music of many episodes stays in the memory…"-Hugo Cole, The Manchester Guardian"An intimate study in idealism, disillusionment, and stoical acceptance...the score is a very fluent and skilful essay in the neo-romantic vein, craftily structured from a mosaic of motifs and written with the same flair for atmospheric instrumentation."-David Cairns, The Sunday Times (London)
"The real thing… an immensely confident score, in its intricately worked structure of motifs, in the richness, density, and brilliance of its orchestral textures, and in its uninhibited lyricism."-The Sunday Times (London)
"A masterpiece. It starts with the advantage of a subject—political cut and thrust in ancient Rome—which seems as topical today as it has ever been. And it rises to the challenge with music which is as strong and communicative as it is structurally convincing."-Conrad Wilson, The Scotsman"The great quality of the score is the musical gesture, the orchestra sound or phrase or rhythmic motif which makes an instant dramatic point."-Gerald Larner, The Manchester Guardian"It is greatly impressive, a real evening of musical theatre…"-William Mann, The London Times"The music proves constantly engrossing as the tautly proportioned score proceeds"-Musical Times
| Pharsalia Dramatic Commentary for Voices, Narrator and Orchestra |
"The music… is fierce and desperate, full of agonized gestures, it has brief gentler moments, too… we were left feeling appalled at the horror and futility and beastliness of war."-London Times"…intensively dramatic in its range of expressive colour, inventive ideas, and vivid impact."-London Daily Express
"A model of how to trim a play for purposes of musical composition… Mr. Hamilton has deftly provided opportunities for spectacular climactic scenes and the stretches of lyrical repose that no opera can do without… such skill and intelligence and such an acute sense of timing."-The Observer"[Hamilton] uses the orchestra brilliantly… the orchestra's role is generally to underpin Hamilton's brand of free-flowing cantilena, admirably flexible so that more than usual in opera the pace of dialogue varies as it does in the play."-The Manchester Guardian"… immensely impressive… it was the best new work added to the English National Opera's repertory for some seasons past. …If I were directing the ENO, I would be commissioning Hamilton to write another opera right now."-Music and Musicians
"The lyrical set pieces abound… with much graceful writing for voices and much attractive music for orchestra…"-The Times (London)
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