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• Hall: a splinter of silence in the belly of time; facsimile 

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• Hall: a splinter of silence in the belly of time 

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• Neville Hall: Selected Works 

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This string quartet is performed as one movement. The first section is predominantly contrapuntal, including the opening bars where each performer sings ‘Aue’ (meaning ‘Alas!’, a Maori acclamation in some waiata tangi). The work continues with a section which features solo cello, followed by dance and song-like sections.

Much of the work is based on the intervals of a minor third, semitone and tone. Karanga, Maori song-calls, performed by women on the marae to welcome or farewell people, are one source of inspiration for this piece. A characteristic musical feature of karanga is a long drawn out cry (glissando). Since there is often more than one caller on the marae, it is not uncommon for the calls to overlap.

In October 1994 the New Zealand String Quartet gave its premiere performance at Lower Hutt. It is described as “quite probably the most successful synthesis of the contemporary Maori and European sound worlds.” Dominion 16-9-95.

• Fisher: String Quartet; computer set 

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• Fisher: String Quartet; computer set 

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• Helen Fisher: Matairangi  Year: 1998 

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In New Zealand there has been a reluctance on the part of pakeha men to move to music. Perhaps it is our Victorian background that makes us feel silly and self-conscious when dancing. We pefer to sit back and be still, like the Tuatara.

In this piece, the old reptile (Tuatara) shakes off his passive past and moves to some more contemporary-sounding dance rhythms. The work is in a continuous movement, divided into several sections. It opens with an ironical glance at the atonal past before flicking it away, like a fly. A jaunty ‘Tuatara’ theme is played on clarinet over bass ostinati, leading to a more vibrant and lively theme. While the first section is earthy and physical in character, the second is a fantasy, full of ethereal images. The initial delicate waltz theme develops and grows into a more menacing idea, before fading back into the ‘Tuatara’ theme. The rest of the piece comprises various dances that adopt certain styles: jazz, folky, rock. A gypsy-like theme combines with a version of ‘God Defend NZ’ in a section where pakeha men are on their feet! The finale uses log drum and Pacific Island rhythms to bring the piece to an exciting conclusion.

• Ritchie A.: The Tuatara Dances; facsimile 

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• Anthony Ritchie: Tuatara Dances 

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