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Gillian Whitehead  

Hineputehue

Duration: 25' 00" Year: 2002
for string quartet and taonga puoro (Maori instruments)

Score Sample
  • Instrumentation
    Taonga puoro (improvised): poi awhioahio, hue puruhau, koauau ponga ihu, nguru, ororuarangi, ku, putatara, pu kaea, pumotomoto, pupu harakekek, tumutumu
  • Programme Note

    Hineputehue translates literally as the woman of the sound of the gourd, and she is the Maori goddess of peace. The work was written in 2001, at the time of President Bush’s State of the Union address shortly before the invasion of Afghanistan, and suggests the fragility rather than the celebration of peace, particularly in a pre-European environment.

    A number of instruments used in Hineputehue are made of gourds – the gourd, which carried food and water, is a symbol of peace. These include the poi awiowhio, a very quiet bird lure which is swung around the head, the tiny koauau ponga ihu or noseflute which ends the piece, the hue puru hau, a large gourd which is blown across its top opening and the gourd rattles played by the quartet. Two other wind instruments frequently made from gourds, the nguru and the ororuarangi, are also used. Other instruments are the putatara or conch shell trumpet, traditionally used for signalling, the pu kaea or war trumpet, a nguru niho paraoa or flute made from a whale’s tooth, the pumotomoto, associated with birth, and tumutumu (tapped percussion).

    There is a similarity between the stringed instruments of the quartet and the gourds, in that they are made from plant material, with sound emitted through sound holes. Another link is the ku, the only stringed instrument known to Maori, which is a small musical bow played like a jaws harp (jews harp) using the mouth as a resonating chamber. The idea of ororuarangi, which can be translated as spirit voice (or double stopping in a different context) has had some influence on this piece as in the parallel movement of the strings.

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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 voice, taonga puoro, flute, alto flute, and bassoon

Score Sample
  • Instrumentation
    Taonga puoro include: 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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Gillian Whitehead  

Hinetekakara

Duration: 16' 00" Year: 2004
for voice, taonga puoro, and bassoon

Score Sample
  • Instrumentation
    Voice used for waiata; Taonga puoro includes: Putatara, Putorino Matai, Pumotomoto, Pupuharakeke, Pu Kaea, and 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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Gillian Whitehead  

Ipu

Duration: 42' 00" Year: 1997
for narrator, taonga puoro (Maori instruments), jazz piano and cello

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Gillian Whitehead  

Outrageous Fortune

Duration: 1h 58' 00" Year: 1998
a chamber opera in two acts

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Gillian Whitehead  

Puhake ki te rangi

Duration: 16' 00" Year: 2006
for string quartet and taonga puoro

Score Sample
  • Programme Note

    Puhake ki te rangi, which translates as spouting to the skies is a celebration of whales, and was written late in 2006 for the New Zealand String Quartet and Richard Nunns as a project undertaken while I was the CNZ/NZSM composer-in-residence, living in the Lilburn House in Wellington.


    Although one section is based on a transcription of whale song, there is no programme to the piece – no confrontation with humanity, for instance. The guiding principles were the extreme range of whale song, the changing patterns of their song, and the image, given to me by the late Tungia Baker, of a whale in Campbell Island waters allowing seal pups at play to slide down her flanks over and over again until, tiring of the game, she flipped them gently away.


    The taonga puoro (Maori instruments) used in this piece are all made from whale bone or the bone from the albatross, the whale’s avian counterpart. In the order they are played, the taonga are, the percussive tumutumu, made from the jaw of a pilot whale washed up on Farewell Spit, a karanga manu (bird caller) made from an orca tooth, two nguru (flutes) made from the teeth of sperm whales that stranded one in Tory channel and one at Paekakariki, two putorino koiwi toroa (instruments made here from albatross bones, which have two different voices, being played as flute or trumpet), made here from the wingbones of a wandering albatross from the sub-Antarctic islands and a young royal albatross from the Chatham Islands, a nguru made from the cochlea of a hump-backed whale and finally a putorino koiwi toroa, especially made for this piece from the rib of a right whale that beached at Cable Bay. Members of the Quartet play percussive instruments – whalebone tumutumu and tokere (castanets). All these instruments were made by Brian Flintoff.


    In the score, the taonga puoro sections are improvised; mostly the quartet parts are notated, but sometimes the players are required to improvise.

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Helen Fisher  

Taku Wana - The Enduring Spirit

Duration: 37' 00" Year: 2002
for two mezzo sopranos, Kai-karanga, taonga puoro (traditional Maori instruments), flute/piccolo, bodhran, string quartet

Score Sample
Audio Sample
  • Instrumentation
    one of the mezzo sopranos needs to be familiar with performing Maori waiata.
  • Programme Note

    This chamber work, composed in 2002, is based on the music drama of the same title, with music by Helen Fisher, Maori composition by Wi Kuki Kaa and lyrics by Lauris Edmond. This shorter work for two sopranos, kai-karanga, string quartet, flute, bodhran and Maori instruments was produced for a CD on the Atoll label (ACD 203). This work focuses on some Maori and Pakeha women’s stories surrounding the events of the 1843 Wairau tragedy. These are stories of compassion, which have a resonance for New Zealand today, showing a way forward for reconciliation and racial harmony.

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Philip Brownlee  

Te Hau o Tawhirimatea

Duration: 11' 00" Year: 2004
for flute and taonga puoro

Score Sample
  • Instrumentation
    Flutes: piccolo/alto flute; Taonga puoro: putorino, koauau ponga ihu, pumotomoto
  • Programme Note

    Te Hau o Tawhirimatea is dedicated to Richard Nunns and Bridget Douglas. The music aims to create a space in which the musicians, and the voices of their instruments, may speak together. The musical space is flexible, encouraging spontaneous dialogue between the various instrumental voices. Tawhirimatea, the wind god, child of Earth and Sky, represents powerful elemental forces, but he is also capable of gentle playfulness. Te hau refers also to human breath, the force which animates the wind instruments. From the mingling of breath, sweet voices are brought into being.

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