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In the deepness of the night before Christmas, children dream of exciting and wondrous things: so do adults, but they are also fraught with arrangements and planning for the big day. a call for simplicity and remembering the loving and gifting nature of Christmas. This piece is performed “in the round” i.e. the adult choir encircles the audience and the children stand up the central aisle. The adult choir gradually moves around the audience and sings at times in smaller groupings. The audience does not know where the sound will come from next. The children need to be able to hold 3 simple parts. Finger cymbals are used to indicate stars and nocturnal animals create an interesting opening. It is depicts a New Zealand Christmas experience.

• Russell: A Wellington Christmas or Christmas Eve Reflections; computer set 

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• Russell: A Wellington Christmas or Christmas Eve Reflections; computer set 

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‘Alegria’ is an education piece for children of primary school age. It focuses on aspects of rhythm and ostinato, and it is based on the flamenco principle of 3+3+2+2+2 (12 beat cycle). Flamenco music is based on Spanish gypsy music, and is often accompanied by clapping, so there are clapping parts included for members of the orchestra. The audience may learn the simple clapping patterns so they can accompany the orchestra when they hear the patterns. The central section in 5/8 is intended as an asymmetrical contrast to the duple and triple meters of the outer sections. “Alegria” means ‘joy’ or ‘happiness’ in Spanish.

• Grenfell: Alegria; computer-set 

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• Grenfell: Alegria; computer set 

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• Maria Grenfell: Alegria and River Mountain Sky 

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• Smythe: Alleluia; computer-set 

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• Smythe: Alleluia; computer-set 

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• Smythe: Alleluia - live concert 

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“Es tan corto el amor, y tan largo el olvido.” — Pablo Neruda

• Michael Norris: Amato - downloadable PDF 

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• Michael Norris: Amato - hardcopy score 

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• Michael Norris: Amato; audio 

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Amokura refers to a red-tailed tropic bird, a rare visitor to Aotearoa/New Zealand, whose tail-feather is treasured by Māori. One such feather was incorporated into the design of a pūtōrino (flute) that Dr Melbourne played. This was one of the last songs Dr Melbourne wrote, and he never recorded it; as with all of his songs, only the words were written down. The song was written for his granddaughter, also called Amokura, who is perhaps the only person who ever heard it sung.


Dr Melbourne devoted his life to restoring the voices of traditional Māori instruments, which had lain, unplayed in museums in Aotearoa/New Zealand and around the world. His passion for these taonga pūoro or ‘singing treasures’ shines through in the words of this song, where he likens Amokura to all those things most special to him.


*No performance without prior consent of composer/Hirini Melbourne Whanau Trust

• Shortis: Amokura; computer-set 

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• Shortis: Amokura; computer-set 

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Arapatiki was commissioned by Stephen De Pledge as one of a series of Landscape preludes, and received its first performance in the Wigmore Hall, London, in January, 2004. Arapatiki translates (from the Maori language) as ‘the way of the flounder’, and is the ancient name of the sand flats in front of my house at Harwood, near Dunedin. The piece has something to do with the advance and retreat of the tide across the flats, where many species of sea and water birds spend much of the day – an ever-varying water-scape. The opening idea is based on the song of the korimako or bellbird.

• Whitehead: Arapatiki; computer-set 

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• Whitehead: Arapatiki; computer-set 

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• Landscape Preludes  Year: 2011 

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• Gillian Whitehead: Arapatiki; video 

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• Gillian Whitehead: Various Works 

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• Stephen de Pledge - Landscape Preludes  

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• Stephen de Pledge plays Arapatiki by Gillian Whitehead 

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• Tuhonohono: Music by Gillian Whitehead 

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• An Interview with Gillian Whitehead 

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• Stephen de Pledge: Three Landscape Preludes  Year: 2004 

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• Gillian Whitehead: Arapātiki CD  Year: 2012 

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‘Aunque es de Noche’ was written for the Sydney Philharmonia Choir, and is a setting of a poem by St John of the Cross, entitled ‘Song of the Soul that Rejoices through Knowing God through Faith’. A medieval Sephardic melody is incorporated into the piece, as well some fragments of Flamenco music.

• Maclean: Aunque es de Noche; facsimile 

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• Maclean: Aunque es de Noche; facsimile 

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• Hextall: Beating Cry; computer-set 

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• Hextall: Beating Cry; computer-set 

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Bele Doette (‘Lovely Doette’) is based on an anonymous 12th century Chanson de Toile. The vocal line follows the original song-line closely for two of the eight stanzas and refrains.

Doette is at a window, reading, when she receives the news that her friend Doon has been killed in a jousting contest. The refrain reads “See now what grief I have”, and at the end she vows to become a nun in the church of St Paul. The original transcription of the song is published in the Anthology of Medieval Music, edited by Richard Hoppin (1978). Pitches are notated in the transcription but no rhythm. Therefore, rhythm is freely interpreted while the original melismas and word setting are maintained. The refrain is expanded beyond the original. The oboe has a dual role. First, it freely develops motifs based on the song-lines by a process using magic squares. These motifs are used in the introduction and interludes between stanzas and refrains. Second, the oboe has a dialogue with the soprano that involves imitation and decoration, particularly in the refrains.

Bele Doette was commissioned by Pepe Becker, and written for her and oboist, Robert Orr. It has been composed as part of Ritchie’s research at the University of Otago.

• Ritchie, A.: Bele Doette; computer set 

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• Ritchie, A.: Bele Doette; computer-set 

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• Anthony Ritchie: Bele Doette; audio 

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• Becker; From the far point of the rising of the sun (Part I)  Year: 2005 

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• Karlo Margetic: Bioluminescence - hardcopy score 

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• Karlo Margetic: Bioluminescence - hire set 

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• Karlo Margetic: Bioluminescence - downloadable PDF 

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• 2006 NZSO/Todd Corporation Young Composer Awards  Year: 2006 

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