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David Hamilton  

An Offering for Parihaka

Duration: 14' 00" Year: 1988
for traditional Maori instruments (taonga puoru) and string orchestra

Geoffrey Hinds  

Innocence and Experience

Duration: 13' 00" Year: 1987
for tenor and piano

  • Programme Note

    This is the fourth in a series of song cycles written for Richard Phillips and had its performance in a private residence.

    The 12 poems reflect personal childhood memories of the composer alternating with later second-hand impressions of events in the ‘80s including the Springbok tour, Queen Street riots, Rogernomics and Auckland’s rampant redevelopment.

  • Availability

Philip Dadson   Wayne Laird  

Pacific 3,2,1, Zero

Duration: 25' 00" Year: 1982
for voices percussion and invented instruments

  • Instrumentation
    in part 1: tuned PVC pipes, metal chimes, roto-toms, voices, trom-tubes, spun drones, rattle-jackets and kerosene cans

    in part 2: voices, tuned wood, metal and PVC pipe lengths, 3 tenor slide trombones and 3 saxophones, soprano, alto, tenor and surf sticks
  • Programme Note

    Pacific 3-2-1-Zero (parts 1 and 2) is a work of protest against nuclear testing and waste dumping in Oceania. The structure is based on an image of isolated islands of acitivity connected by common waters whose currents now innocently carry nuclear contamination.

    The work takes place in the round, with the instruments in Part 1 arranged centrally to indicate the symbol for nuclear disarmament.

    The syllables heard in the first vocal section are taken from the names of individual islands within Micronesia, Melanesia and Polynesia. These are mirrored and inverted in the same way as the rhythms in the music are. In a later vocal section the names of contaminated islands testing sites: Mururoa (France), Fangata’ufa (France), Christmas Island (UK/USA), Johnston Island (USA), Enewetak (USA), Bikini (USA) are sung, then shouted and drummed on tins to sound both lament and warning.

    Part 2, developed in 1983, expresses hope and is dedicated to the emerging force of solidarity among the people of the Pacific.

  • Availability

Gillian Whitehead  

Pao

Duration: 16' 00" Year: 1981
for mezzo-soprano, piano and clarinet

  • Programme Note

    ‘Pao’ is the name given by Maori to two-lined epigrammatic songs which comment on a wide range of subjects such as love, war, politics or religion; often topical, often improvised. Most of the songs set here were collected in 1864 from Maori prisoners captured during the the land wars in the Waikato area south of Auckland. The couplets are not connected in any way except for the central group, for unaccompanied voice, concerning Pikeri, a character famous at the time for his escapades evading the police; in this instance, enforced separation during a love affair is charted.

    The English translations of these pao are used with the kind permission of the late Margaret Orbell, and come from her Maori Poetry, an introductory anthology (Heinemann, 1978).

    Pao was commissioned by the Northumberland-based Syrinx Trio, with financial assistance from Northern Arts; the first performance was given by Syrinx in Newcastle in 1981.

  • Availability

William Dart  

Songs to the Judges

Duration: 50' 00" Year: 1980
a song-play

Christopher Blake  

Sounds - an Evocation of Tahuahua, Queen Charlotte Sound

Duration: 14' 00" Year: 1985
for wind quintet

Lyell Cresswell  

The Pumpkin Massacre

Duration: 12' 00" Year: 1987
for strings

  • Instrumentation
    twelve solo strings: 4 violins I, 3 violins II, 2 violas, 2 cellos and double bass
  • Programme Note

    Te Puoho, friend and ally of Te Rauparaha, invited the Rangitane chief Mahuri and his people to a feast at Kukutauaki in return for previous kindnesses. Kukutauaki stood in the middle of an area hostile to the Rangitane people. On his way to the feast Mahuri was warned of the danger of entering territory controlled by the powerful and dangerous Te Rauparaha whereupon he replied: “It is the boast of Te Puoho that he will not have his forehead smeared with blood.” After the feast at which a new kind of food, the pumpkin, was introduced, the guests were invited back to Maimea, at the mouth of the Waikanae River, and massacred – most likely at the prompting of Te Rauparaha. This work was composed in 1987, commissioned and first performed by the New Zealand Chamber Orchestra, conducted by Anthony Jennings. It has been reviewed as, “sheer instrumental drama launched on a sea of seething, trilling strings.”

  • Availability

Helen Caskie  

Under the African Sun

Duration: 04' 00" Year: 1986
for two flutes and piano