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Gillian Whitehead  

"Aria" from Outrageous Fortune

 Year: 1998
for soprano, taonga puoro, flute, bassoon, cello and piano

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Lyell Cresswell  

Chiaroscuro

Duration: 06' 00" Year: 2005
a "landscape prelude" for piano

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Douglas Lilburn  

Festival Overture

Duration: 08' 00" Year: 1939
for orchestra

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John Rimmer  

Galileo

Duration: 1h 30' 00" Year: 1998
a chamber opera using for 6 singers, small chorus and 8 players, also using electroacoustic music and DVD of visuals

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  • Instrumentation
    Television newsreader (spoken voice), Nobelman (baritone), Castelli (tenor), Galileo (baritone), Boy/Angel (mezzo soprano), Three Priests (tenor/baritones), Heretic (baritone), Christina (soprano), Military Man (baritone), Sea Captain (baritone), Troubadour (mezzo soprano), Cardinal Bellarmino (tenor), Pope Urban VIII (bass baritone), Pope John Paul II (baritone), small chorus of townspeople; flute doubling piccolo, oboe, clarinet doubling bass clarinet, horn, piano, percussion, violin and cello. Electroacoustic music played through at least eight loudspeakers. DVD of visuals.
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James Gardner  

Given what we gather takes place

Duration: 07' 00" Year: 2003, r. 2004
for clarinet and percussion

Score Sample
  • Instrumentation
    can be performed on any of the clarinets; choice of percussion instruments left to performer
  • Programme Note

    This is the “permanent exhibit” from the work in progress called ‘given what we gather takes place’. The model for the whole work is that of a museum in which some exhibits are on permanent display, and others are brought up from the storeroom. In other words, some sections of music are always to be played, while others are chosen by the performers from a pool of material to present a unique exhibition for each performance. The percussionist’s instrumental collection is similarly assembled; some categories of instruments are specified while others are chosen by the percussionist with the added stipulation that some aspect of the instruments chosen must be unique to the location of the performance. The music of this particular “exhibit” alludes to, but does not use, folk-like material and is conceived as a playful sparring match between two friendly opponents. ‘given what we gather takes place’ was commissioned by Resonate Duo, to whom it is dedicated, with funding from Creative New Zealand.

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Larry Pruden  

Harbour Nocturne

Duration: 07' 00" Year: 1954
for small orchestra

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Gillian Whitehead  

Hineraukatauri

 Year: 1999
duo for piccolo/flute/alto flute, and Maori flutes

Video Sample
  • Instrumentation
    piccolo, C flute, alto flute. Taonga puoro: tumu tumu, karanga manu, putorino toroa, putorino maine, putorino nui, purerehua, pakunu. Taonga puoro parts mostly improvised.
  • Programme Note

    In the tradition of the Maori, the indigenous people of New Zealand, Hine Raukatauri is the goddess of music and dance. She is embodied in the form of the female case-moth, who hangs in the bushes and sings in a pure, high voice to attract the male moths to her. Her hair is found as a fern, the hanging spleenwort, and her voice is heard in the sound of the putorino, an instrument known only in Aotearoa (the Maori name for New Zealand). The putorino is an instrument that can be played in various ways – as a flute, as a trumpet and as a means of enhancing or altering the human voice.

    Hineraukatauri is written for two performers, one playing conventional flutes (piccolo, C and alto flutes), and the other for taonga puoro (instruments). The score features three different putorino, which, like all taonga puoro, (and also the songs and chants) have a small pitch range, rarely exceeding a fourth, which varies from instrument to instrument. Three putorino are used in this piece – one made of albatross bone and two of wood, and both the flute and trumpet voices are used. Other instruments used are a karanga manu (bird-caller), a purerehua (swung bull-roarer) and tumutumu (tapped instruments.)

    The flute player’s part is notated, but the music for the taonga puoro is improvised; there are areas when the flute player is encouraged to improvise with the taonga.

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Gillian Whitehead  

Hinetekakara

 Year: 2004
for kaikaranga, taonga puoro, flute, bassoon and cello

Video Sample
  • Instrumentation
    Taonga puoro: putatara, putorino matai (wheke), pumotomoto, oriori, pupuharakeke (flax snail), pu kaea, nguru rakau maire
  • Programme Note

    Hinetekakara is the ancestress of Aroha Yates-Smith, the kaikaranga (singer) who provided the idea and the text of this piece. Hinetekakara lived on the shores of Lake Rotorua with Ihenga, her husband or father, an eponymous ancestor of the Te Arawa people, when the land was still being settled after the arrival of the Te Arawa canoe from central Polynesia. The four cadenzas, for bassoon, alto flute, flute, cello and bassoon, and bassoon link improvised sections, in which all the instruments participate. The singer initially invokes, accompanied by putatara (conch shell trumpet), the spirit of Hinetekakara, then addresses rituals following the death of her future father-in-law (with putorino), and then the birth of her son (with pumotomoto, an instrument used to assist at child-birth). A voiceless improvisation on pupu harakeke (flax snail), an instrument presaging danger, is followed by Ihenga’s anguished lament as he finds the murdered body of Hinetekakara by the lake, by the place named for her, Ohinemutu, meaning the end of the woman. Finally, she is farewelled as her spirit returns to the afterworld.

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Peter Scholes (composer)  

Memory and Desire

Duration: 1h 02' 00" Year: 1997
soundtrack for orchestra from the film of the same name produced by Owen Hughes and directed by Niki Caro

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Gillian Whitehead  

Nga ha o nehera

Duration: 16' 00" Year: 2004
for solo bassoon

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  • Programme Note

    Nga ha o nehera, which translates from the Maori language as ‘a breath from the past’, was commissioned by and written for Ben Hoadley, with financial assistance from the Becroft Trust. Ben Hoadley gave the piece its first performance at the International Double Reed Convention in Melbourne in 2004. Nga ha o nehera is a five-movement suite, written after a taonga puoro wananga at Ohinemutu on the shores of Lake Rotorua. The first movement is ‘Nga ha o nehera’, meaning a breath from the past, the second, ‘puna wera’, describes the continual welling up of hot water from a spring at the edge of the lake, and the third, ‘Mokoia’, suggests the soundscape of Mokoia Island, which, as well as a major historical site, is also a bird sanctuary. The fourth movement He purakau, recounts a folk-story – not a specific tale, but suggesting the elements of all strong stories, and the last movement, ‘Ohinemutu’, locates the piece in place, and suggests something of the story of Hinetekakara, the ancestress of the Te Arawa people, whose untimely death gave the place its name.

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