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This is the second arrangement made of a song written around 1918 by Erima Maewa Kaihau (1879-1941). It follows on from E moe te ra made in 2007 – both pieces arranged at the request of David Gordon of Diocesan School for Girls. Erima Maewa Kaihau was also involved in the complex gestation of the song Now is the hour.

Akoako o te Rangi is also very much in the late Victorian tradition of ‘parlour ballads’ and owes little to traditional Maori song forms or styles. In fact the rather erratic word underlay of the Maori text suggests that the English version (hardly a translation though of the Maori) may have been te first made.

The text is short although there may have originally been further verses (the printed music, published in 1918, contains just the one verse). It is a love song – the scent of a loved one wafting on the breeze to awaken the sleeping lovelorn singer.

• Hamilton: Akoako o te Rangi; computer-set  Year: 2010 

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• Ritchie A.: Two Maori Songs; facsimile 

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• Ritchie, A.: Two Maori Songs; facsimile 

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• Ritchie, A.: Haere Mai Ra; facsimile 

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• Anthony Ritchie: Haere Mai Ra; audio 

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The original version of this arrangement was one of several made in 1987 for my choir Opus at Epsom Girls Grammar School. They were intended as straightforward arrangements of well-known Maori pieces for treble voice choirs. A version for mixed-voice choir (SSATB) was made in 1996 for the New Zealand and Australian tour by the St. Olaf Choir of Minnesota (conductor: Anton Armstrong).

The Maori people were the earliest settlers in New Zealand, arriving in the country about a thousand years ago. This piece belongs to the more recent “concert party” tradition of Maori music, rather than the traditional pre-European musical forms and styles. Before European contact, the music of the Maori people consisted largely of monophonic chants with a very limited range of pitches. The early missionaries brought with them their own musical styles which were soon taken over by the Maori people. Many well-known Maori songs are really a mix of European and early Maori forms.

Hine e Hine is a gentle lullaby. It was written by Fannie Rose Howie (1868-1916) who performed under the stage name of Princess Te Rangi Pai. Born in the Gisborne area of Maori and European parents, she showed early interest in singing, and after marrying undertook study in Australia and England. Her fine contralto voice, and natural stage presence, lead to a significant recital career both in England and in New Zealand on her return in 1905. Illness dogged the last years of her life, and she is now best remembered for this song.

• Hamilton: Hine e Hine; computer-set  Year: 2009 

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The Auckland Primary Principals’ Association holds an annual music festival and over the years several of my choral works have been included in the event. In early 2010 I was approached by former student Pip Faulknor who, along with two other conductors, was keen to include something specifically about Auckland in their programmes, and asked if I had anything suitable. I suggested something new might be appropriate and a text was devised by Mary Cornish. The text talks of many of the features of Auckland, but is also a call for the people of the area to listen to, and respect, the children of Tamaki Makaurau (Auckland).

David Hamilton

• Hamilton: Listen Tamaki Makaurau; computer-set  Year: 2010 

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Matariki is the Maori name given to a group of stars that rises in the north-east around the end of May each year. This constellation is known traditionally at the Pleiades, and in the ancient world was known from Greece to India. Maori gave names to seven of the stars, and the first moon after the appearance of the stars was celebrated as the Maori New Year. This was a time of feasting (the crops had been gathered and food was plenty), and a time to remember those who had passed away. As with many myths and legends, there are contradictory ideas – some suggest that Matariki is the name of the largest star (with the other stars being her sisters) while others suggest the name refers to the whole cluster.

Maori mythology named the stars of the night sky “Te Whenua Marama” (the family of light”) – the children of Ranginui the Sky Father and Papatuanuku the Earth Mother. The word Matariki has conflicting origins: some say it is a combination of ‘mata’ (eyes) and ‘Ariki’ (God), while others see it as a combination of ‘mata’ (eyes’ and ‘riki’ (tiny).
For this work several traditional texts associated with Matariki are used, each of which presents a different facet of Matariki. No traditional music is used in the work although much of the melodic writing uses rhythmic patterns suggestive of traditional waiata. Bell sounds are also used to suggest the seven stars of Matariki.

Matariki was written for the choir Choralation (Westlake Girls’ and Westlake Boys’ High Schools) and conductor Rowan Johnston.

• Hamilton: Matariki; computer-set 

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• David Hamilton: Matariki; video 

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• David Hamilton - Music for Mixed Voice Choirs Vol. 1 

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3 flutes, 3 clarinets, 2 alto saxophones, 2 tenor saxophones, 3 trumpets, 2 trombones, euphonium, tuba, violoncello (optional), string bass, timpani, percussion I (high conga, low conga, medium tom, low tom), percussion II (high bongo, low bongo, high tom, medium tom), percussion III (tambourine, high woodblock, low woodblock), percussion IV (suspended cymbal, wind chimes, triangle) and percussion V - xylophone (medium sticks), with piano and SATB choir

Based on the simple idea: “If Lake Taupo was a piece of music, what would it sound like?”

This mass musical work, commissioned especially for the ERUPT Lake Taupo Festival 2010 through the SOUNZ Community Commission, takes its inspiration from the people and places of Taupo.

Featuring lyrics submitted by local writers, Moana Ataahua is a spectacular mix of symphonic, choral and percussive elements that erupts into an exciting finale.

• Youens: Moana Ataahua; computer-set 

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• Youens: Moana Ataahua; computer-set 

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choir, percussion, Rarotongan drums, guitars (students), Taonga Puoro (koauau), piano, clarinet in B flat, alto saxophone, horn in F, flute, guitar (advanced performer)

Nga Tapuwae o Kupe is a music drama directed by Rangimoana Taylor. It is based on the story of Kupe’s journey from Hawaiki to Aotearoa and his discovery of various landmarks around Whanganui-a-Tara / the Wellington region.

While this work maintains a strong Maori theme, with karanga, haka and waiata, as well it weaves in other Pacific and European elements.

For school choir, instrumentalists, dancers and kapa haka, this work was composed with the financial assistance of a composition grant from Queen Elizabeth II Arts Council, was first performed by 140 students from South Wellington Intermediate School in July 1992 for Artsplash, the Wellington Young People’s Festival.

• Fisher: Nga Tapuwae o Kupe; facsimile 

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• Fisher: Nga Tapuwae o Kupe; facsimile 

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• Helen Fisher: Works 1  Year: 1992 

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Probably the best-known Maori song, Pokarekare ana exists in various forms including different time signatures and rhythms. There continues to be some dispute over who exactly wrote the original version (or even if the melody was composed in New Zealand!). It is usually attributed to P.H. Tomoana, although this now seems unlikely. It first appeared around the time of World War 1.

One account of the writing suggests it was written by a lovelorn young man who had been refused permission to marry his loved one. The song was composed and sung to win over his prospective in-laws.

This version of the piece was made for Auckland Boys’ Choir (conductor: Stuart Weightman) in 2008.

• David Hamilton: Pokarekare Ana - hardcopy score  Year: 2008 

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The Maori text for this Christmas season choral work is drawn from the Gospel of Luke (Ch.2. verses 10,14) and also Isaiah Ch. 9. verse 6). The work was revised for SATB choir in 1997.

Accurate Maori pronunciation is required for this work

• Fisher: Te Whakaaro Pai ki Nga Tangata; computer-set 

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• Helen Fisher: Te Whakaaro Pai Ki Nga Tangata; video 

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• Te Whakaaro pai Ki Nga Tangata - Helen Fisher 

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• Helen Fisher: Works 1  Year: 1992 

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Deep in the bush where there were no cicadas singing, the moist smell of soil, a small stream, dark ferns. The middle of the ponga fern looked as if it would be a perfect bed to curl up in. I half believed there were bush dwelling creatures that did live and sleep there, watching me from the shadows.

• Holmes: Through Coiled Stillness; computer-set 

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• Holmes: Through Coiled Stillness; computer-set 

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• Holmes: Through Coiled Stillness; computer-set 

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