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In April 1981 Denise Hulford ‘discovered’ Sam Hunt’s poem DREAMS and was immediately impressed with the very descriptive words which became an inspiration for this setting of the poem for Mezzo-Soprano and Flute. As a composer and singer Denise Hulford has been fascinated by the voice and its potential for manipulation whilst being able to blend with other timbres.

• Hulford: Dreams; facsimile 

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• Hulford: Dreams; facsimile 

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• Buchanan: Hine, e Hine (voice and piano); computer set 

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• Buchanan: Hine, e Hine (solo version); computer-set 

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James K. Baxter is New Zealand’s most well-known poet. He wrote in a wide variety of styles and genres, including the traditional ballad form, of which Lament for Barney Flanagan is a prime example. It contains a classic Baxter mix of humour and pathos, lively in spirit but focussed on the subject of death, in this case the heart-attack of an overweight publican. The music is simple and strong, allowing the witty lyrics to speak for themselves, but also adding occasional wry touches of word-painting.

• Ritchie, A.: Lament for Barney Flanagan; computer-set 

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• Ritchie, A.: Four Songs for Baritone and Piano; computer-set  Year: 2005 

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• New Zealand Poets in Song - Anna and Matthew Leese sing songs by Anthony Ritchie  Year: 2008 

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• Emeleus J.: Men who march away; facsimile 

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• Powell: Nothing but Switzerland and Lemonade; facsimile 

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• Powell: Nothing but Switzerland and Lemonade; computer-set 

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‘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.

• Whitehead: Pao; computer set 

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• Whitehead: Pao; computer-set 

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• Whitehead: Pao; facsimile 

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• Whitehead: Pikeri; computer-set 

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• Whitehead: Pikeri; computer-set 

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• Kowhai - an album of songs by NZ women composers  Year: 1994 

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• Gillian Whitehead: Pikeri from Pao; audio 

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Undoubtedly, this is one of Whitehead’s more unusual collaborations. The work, intended for five dancers and organ, with soprano added at the composer’s request, was to have been performed in five cathedrals around Britain during the summer of 1982. Due to the cancellation of the dance component however, the work received performance in only one of the cathedrals – Carlisle – but was later presented with a solo dancer, Bronwyn Judge, at the 1987 Sonic Circus in Wellington. The singer on that occasion was Glenys Taylor and the organist Douglas Mews. The composer initially delayed beginning work on the piece, since her sister was expecting a baby, and a Requiem did not seem an appropriate preoccupation. The successful birth was however followed by two close-family deaths and it was these which provided the composer with the emotional impetus to proceed with the composition. (Programme note by Emma Carle and Jack Body).

• Whitehead: Requiem; facsimile 

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• Whitehead: Requiem; computer-set  Year: 2001 

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• Waiteata Collection of New Zealand Music Vol. 3 - Composer Portrait: Gillian Whitehead  Year: 2000 

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• Macky: Sweet Singing Bells; facsimile 

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• Buchanan: Wedding Song; facsimile 

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