Aija Draguns | COMPOSER | CONDUCTOR

WORKS

A collection of choral, solo, chamber, opera, and orchestral compositions

Please email aijadraguns0@gmail.com regarding the commission of a new work, or the purchase and performance of any © Aija Draguns Music scores

View 2024 SATB choral music portfolio here

Love Languages (2023)

For Baritone Voice and Piano // 14’ 00’’

One song, one poem, three languages

LOVE LANGUAGES is a song cycle for Baritone voice and Piano, sung in three movements, in three different languages.

Poem "Ich Denke Dein" by Johann Wolfgang von Goethe

M1- Latvian. Translated by Sandra Draguns

M2- Original German M3- English. Translated by Richard Stokes

Performed by Leon Vitogiannis (Baritone) and Jamie-Lee Xu (Piano) at the Sydney Conservatorium of Music for the ARTSONG FESTIVAL 2023. (27th September)

© Aija Draguns Music

Situ Koku (2020)

For SATB Choir // 3’ 30’’

Situ Koku is a work inspired by the harmony, texture, and melody of traditional Latvian folk music. The text is a "daina": a form of un-authored ancient Latvian poetry. Dainas often speak of various themes, including daily life, nature, marriage, war, death, drinking, and pagan religion. This particular text speaks of the continuity of life. Countrymen work long summer days in the field, singing rhymically to pass the time. They will the sun to set, so that they can finally go home and rest. Meanwhile in the sky, the sun, moon, and stars chase eachother, but can never meet up. Everyday, the sun and moon both rise and set, as days and night continue on.

© Aija Draguns Music

Puķes un Zvaigznes (2021)

For SATB Choir // 7’ 40’’

Puķes un zvaigznes (Flowers and stars) was commissioned by the Australian Latvian Arts Festival for the December 2021 concert: The music of Ešenvalds.Inspired by the music of Latvian Ēriks Ešenvalds and Estonian Arvo Pärt, the piece sets text by Latvian poet, Aspazija. The poem and piece express the need to hold onto your hopes and dreams, even at times when these feel lost. They still exist in the universe, among the stars, and within your heart.

© Aija Draguns Music

Max and Moritz (2022)

For Chamber Opera // ca. 55’00’’

Based on German Wilhelm Busch’s children’s book “Max und Moritz” (1865), Max and Moritz follows the story of two young naughty Australian boys, as they wreak havoc on their town with their wild pranks. Will Max and Moritz finally learn to be good boys?

Commissioned by Musgrove Opera, director Lachlan Massey, premiered at the Sydney Opera House, 2022. (https://www.musgroveopera.com.au/maxandmoritz.html)

Recording N/A, email aijadraguns0@gmail.com to request score.

© Aija Draguns Music

Lux Aeterna (2021)

For SSAATTBB Choir // 4‘ 00’’

Elizabeth Scott conducts VOX Philharmonia Choir for the premiere of Aija Draguns' new choral work, Lux Aeterna. The piece was performed and recorded at St Andrews Cathedral in Sydney, within Vox's 'Berliner Messe' (Arvo Pärt ) concert on the 13th of March 2021.

The text “Lux æterna” has connotations of positivity and light and musical settings tend to share this character. This setting however acknowledges that with light, comes darkness. There cannot be happiness without some sadness. The result is a juxtaposition of positive language with a darker dimension.

© Aija Draguns Music

Lavender Paper Cranes (2022)

For Chamber Orchestra // 3‘ 30’’

Premiered at Sydney Town Hall, May 2022 by Sydney Philharmonia Orchestra, Conductor Brett Weymark.

Paper cranes symbolise hope and healing, and lavender is a colour symbolising peace and serenity. The past two years have brought immense stress and conflict across the world (covid-times), as all walks of life have suffered through this experience in various ways. I personally yearn for a sense of calm and stillness once again.
Lavender Paper Cranes not only reflects on recent hardship but looks forward in hope, with musical gestures such as the constant ‘ticking’ of the harpsichord symbolising the continuation of time – no matter what good or bad occurs in life, time moves forward. Our ‘crown’ has not fallen down but we remain strong and composed, willing the world to feel at peace again.

© Aija Draguns Music

Waiting for love (2021)

For SATB Choir // 5’ 15’’

For all of the romantics out there, a sweet choral love song, setting Rupi Kaur’s poem from her book “Milk and Honey”.

"love will come
and when love comes
love will hold you
love will call your name
and you will melt
sometimes though
love will hurt you but
love will never mean to
love will play no games
cause love knows life
has been hard enough already”
- Rupi Kaur

© Aija Draguns Music

Dove-feathered raven (2020)

For Soprano Voice, Violin, Flute and Piano // 4‘ 50’’

Setting of Romeo and Juliet, Act 3 Scene 2 (Line 74-86) by William Shakespeare.

O serpent heart, hid with a flowering face!
Did ever dragon keep so fair a cave? Beautiful tyrant! fiend angelical!
Dove-feather’d raven! wolvish-ravening lamb!
Despised substance of divinest show! Just opposite to what thou justly seem’st,
A damned saint, an honourable villain! O nature, what hadst thou to do in hell,
When thou didst bower the spirit of a fiend
In moral paradise of such sweet flesh? Was ever book containing such vile matter
So fairly bound? O that deceit should dwell
In such a gorgeous palace!

Recorded by: Chloe Lankshear (Soprano), Michel Kharrat (Violin), Beck House (Flute) and Jina Kang Lee (Piano).

© Aija Draguns Music

La Libellule// The Dragonfly (2021)

For Solo Viola and Piano // 6’42’’

La Libellule (The Dragonfly) was written for my friend Caitlin Duncombe for her final viola recital at the Sydney Conservatorium of Music in 2021. It was inspired by the life cycle of a dragonfly, and movement and journey it takes. Each section displays a different aspect and interpretation of the dragonfly’s personality, and how I imagine their various adventures through life to be.

© Aija Draguns Music

The Assassination (2021)

For Solo Baritone Voice with String Quartet and Piano // 6’'07’’

Written for and sung by my friend Michael Kaufmann for his final vocal recital at the Sydney Conservatorium of music.

William Shakespeare Macbeth

Act 1, Scene 7

Lines 1-16, 25-28

If it were done, when ’tis done, then ’twere well It were done quickly: if the assassination Could trammel up the consequence, and catch With his surcease success; that but this blow Might be the be-all and the end-all – here, But here, upon this bank and shoal of time, We’d jump the life to come. But in these cases We still have judgment here; that we but teach Bloody instructions, which, being taught, return to plague the inventor: this even-handed justice Commends the ingredients of our poison’d chalice To our own lips. He’s here in double trust: First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Not bear the knife myself. I have no spur To prick the sides of my intent, but only Vaulting ambition, which o’erleaps itself And falls on the other.

© Aija Draguns Music

Finding you (2022)

for SSSSAAAA Choir

Composed for "100 Women. 100 Stories" project with THE HOUSE THAT DAN BUILT. Premiered Sydney Town Hall, November 2023.

This piece offers comfort to young women, as the sisterhood stands strong and united. We help each other search for who we are as individuals, while finding our voice and place in the world. It is ok to be lost, and not know who you are yet, as we are all on this search together. The singers all“call out” to each other, symbolizing this search for themselves.

© Aija Draguns Music

From my mother, to her (2022)

For SSSSAA Choir // 5’10’’

Composed for "100 Women. 100 Stories" project with THE HOUSE THAT DAN BUILT. Premiered Sydney Town Hall, November 2023.

Women have gone from being stay at home mothers, to fighting for the right to work, to having the freedom to choose. Though societal views on working mothers has changed over-time, is this pressure, judgement, and guilt still present for women today? This piece explores motherhood and womanhood from three generational perspectives:

“Mother home when we were young. Memories of fresh baked bread. Calming chaos round our house. Had comfort knowing mothers home. Home.

Guilt around my own pursuits. I’m still mother though I work. Please let me consider my own needs. Balance for my family. Guilt.

Found our place, but still fighting. Do dream big, you can fly free. She can choose what mother means. Free to be brave, free to chose. Fly.“

© Aija Draguns Music

Kyrie (2021)

For Solo Soprano Voice

Originally recorded by Chloe Lankshear.

Kyrie eleison.
Christe eleison.
Kyrie eleison.
//
Lord, have mercy.
Christ, have mercy.
Lord, have mercy.

© Aija Draguns Music

Mēnesī Raugoties // Pondering the moon (2022)

For Trumpet and Piano // 5’50’’

Comissioned by LJAA for Ingrida Darzins for the 'Mēness Starus Stīgo' concert in Melbourne, 2022.

© Aija Draguns Music

Putns Ar Uguns Spārniem // Bird with the fire wings (2021)

for SATB Choir // 7’45’’

Commissioned for CORO INNOMINATA Choir as part of the Coro Innominata ‘Women Composers Development Program’ for 2020/21.

Lyrics by Latvian poet, Aspāzija.

© Aija Draguns Music

Shadows and Magpies (2020)

For SA Children’s Choir, Piano, and Vibraphone

Commissioned by Trinity Grammar School as part of the Trinity Grammar Composer Fellowship program in Sydney, 2020.

© Aija Draguns Music

Future me, who will I be? (2020)

for SA Children’s Choir and Piano

Commissioned by Trinity Grammar School as part of the Trinity Grammar Composer Fellowship program in Sydney, 2020.

© Aija Draguns Music

Violet Awakens (2020)

For String Quartet or String Orchestra // 3’50’’

I often compose with colour in mind, with this particular quartet inspired by the colour violet, and how it sounds and moves in my mind.

Recorded and premiered by Somnus Quintet in 2021.

© Aija Draguns Music

Dusk and Dawn (2020)

for Oboe and Piano // 4’00’’

Recorded by Ben Perche (Oboe) and Harry Tai (Piano).

© Aija Draguns Music

Train de Jouet // Toy Train (2020)

For Saxophone Quartet, Organ & 2 Pianos // 2’15’’

Train de Jouet (Toy train) is a short and vibrant chamber work, recorded in Verbrugghen Hall, Sydney Conservatorium of Music, August 2020.
Saxes:
Soprano- Qui Li (Iris)
Alto- Mitchell Old
Tenor- Nicholas Lafkas
Baritone- Oliver Lee
Piano 1: Grace Lee
Piano 2: Yvonne Lau
Organ: Hamish Wagstaff

Electroacoustic collection

Situ Koku (arrangement)

Watercoloured

Meža strauts

Sēd uz sliekšna pasaciņa

Lost in the vast

Song from a robin

Early music-inspired choral collection

For SSAAB ensemble and Cello

A collection of smaller vocal works set to three Latin liturgical texts:

Angele Dei (2021)

Gloria Patri (2021)

Ave Maria (2021)

La Luna (2019)

for SATB Choir // 1’45’’

A short and sweet choral work about the moon, sung by student composer choir “Ad Lib” in 2019.new music Soloist: Ariel Bonnell

Psalm Cycle (2019)

For TTBB Choir and Cello // 7’00’’

A multi-movement work, setting various liturgical Psalm texts in Latvian.

Vincenzo (2019)

for Percussion, Clarinet & 4-handed Piano // 3’50’’

This piece is inspired by the story of the Mona Lisa. In 1911, Italian Vincenzo Peruggia allegedly stole the famous Mona Lisa painting. It is commonly believed that this is one of the main reasons for the huge fame of the painting today,

Mūsu Tēvs (2020)

For SATB Choir // 2’40’’

A setting of the Lord’s Prayer in Latvian. Sung by the children’s choir from Annas Ziedars Latvian Summer School, conducted by Gints Ceplenieks.

Sarkandaiļa roze auga (2019)

For SATB Choir // 3’45’’

A setting of a Latvian “Daina” folk text. Sung by the children’s choir from Annas Ziedars Latvian Summer School, conducted by Gints Ceplenieks.

Tumšā Nakte (2018)

For SATB Choir // 2’10’’

A setting of a Latvian “Daina” folk text. Sung by the children’s choir from Annas Ziedars Latvian Summer School, conducted by Laura Jekabsone.

Es gulu, gulu (2018)

for SSSAA Quintet // 5’00’’

A setting of a Latvian “Daina” folk text.

Performed by Ines Paxton, Eleanor Foster, Natasha Gesto, Ariel Bonnell, and Aija Draguns.