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• Farr: He Tango mo Elena; computer-set 

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• Elena  Year: 2002 

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• Poynton: Roimata; facsimile 

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• Poynton: Roimata; facsimile 

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• Premieres: Poynton, Ritchie, Whitehead 

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• Poynton and Wai Kapohe: Roimata   Year: 2000 

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The poem Tangi was written by Megan Simmonds, a New Zealand poet who lives in the Bay of Plenty. I wanted to explore the use of vocal overtones in this piece; they have often been connected with the spiritual or other-worldly in the various cultures where the technique is practiced.

A tangi (or tangihanga) is a Māori funeral ceremony. The opening material, and position of the singers, is influenced by the Māori powhiri, where visitors are received onto the marae in a customary series of calls and songs by the tangata whenua, each reciprocated in turn by the visitors.

• Shortis: Tangi; computer-set 

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• Shortis: Tangi; computer-set 

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• Carol Shortis: Tangi; audio 

  Media on Demand | Embedded
  

• Baroque Voices: Alleluia: a newe work! 2007  Year: 2007 

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Tū-mata-uenga “God of War, Spirit of Man” was inspired by the Maori story of creation. In summary, the story starts in the beginning when the world between Rangi-nui, the Sky Father, Papa-tua-nuku, the Earth Mother, was cramped and dark. Their children could not grow in this environment and were forced to take action to survive and Rangi and Papa were forced apart – creating the world, as we know it today. I have portrayed the part of the story where Tū-mata-uenga struggles to tear Rangi from Papa. Tū-mata-uenga…leapt at the task, hacking wildly at the sinews that bound Earth and Sky, making them bleed. It is with this act that the sacred red clay, or ochre, was made. But even Tū, the fiercest of the sons, could not sever Rangi from his lover Papa.

There are two distinct themes alternating throughout the work. To represent the ‘God of War’ there are two dominant motives; the semitone, which is used to portray his frustration from his incapability to separate his parents. Secondly, I have used militant rhythmic passages to emphasise the act of war. The second theme is more angular. It reflects another side of Tū-mata-uenga, the more complex ‘Spirit of Man’. It leaps and slides around the dissonant augmented 4th interval. Gradually, another more legato melodic line is infused with the angular theme that takes the piece into a calmer section, which has an almost triumphant melodic line.

• Toan: Tu-mata-uenga (God of War, Spirit of Man); computer set 

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• Toan: Tu-mata-uenga (God of War, Spirit of Man); computer-set 

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• NZSO National Youth Orchestra 2005  Year: 2005 

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