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For unaccompanied SATB choir this work has a Maori text which is attributed to Rangiamoa.

• Freed: Lament for Te Wano; facsimile 

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• Freed: Lament for Te Wano; facsimile 

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These three vocalises, using Maori vowel sounds, were first recorded by the Wellington members of the National Youth Choir. They were composed for the opening section of ‘Wahine Toa’, a dance theatre celebration of Maori female ancestral figures. This work was performed at Taki Rua Theatre in Wellington in 1992 and in Christchurch in 1993. The three pieces are: 1. Te Po Nui, Te Po Roa, where male voices hum a series of sustained chords. 2. The Earth Lay in the Womb of Darkness – inspired by Robin Kahukiwa’s painting of the same title. This choral vocalise by full choir begins with alto melodic line, soon building to a widely spaced texture of superimposed fifth chords. 3. Papatuanuku – the Separation of Ranginui and Papatuanuku. The vocalise begins gently, becoming increasingly contrapuntal, building to five strong chords, and ending with a sighing texture of vocal glissandi. Wahine Toa was choreographed by Keri Kaa, Jan Bolwell and Sunny Amey, and was commissioned with assistance from the Queen Elizabeth 11 Arts Council of New Zealand.

• Fisher: Papatuanuku; facsimile 

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• Fisher: Papatuanuku; facsimile 

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• Helen Fisher: Various Works 

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Inspired by sparkling waters of Tasman Bay Nelson, this choral work (SSAATB) was originally composed with flute accompaniment, which has been substituted in performances by the Shakuhachi (traditional Japanese flute) and also the Koauau (traditional Maori flute). There are recordings of Pounamu with each of these flutes. The piece’s choral texture uses Maori vowel sounds and a text which is a whakatauki (proverb) from the Waikato region.

• Helen Fisher: Pounamu (SOUNZwrite) - hardcopy study score  Year: 1997 

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• Helen Fisher: Pounamu - hardcopy vocal score  Year: 1997 

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• Helen Fisher: Pounamu - hardcopy score & part  Year: 1997 

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• Pounamu 

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• New Zealand Choral Music  Year: 1998 

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These two a cappella folksong settings were written for the 2011 – 2012 NZSSC to sing during their NZ concerts and on their trip to the Ihlombe South Africa Music Festival in July 2012 . The settings were based on existing folk melodies and texts and were designed to challenge the choir. ‘Lullaby’ is a gentle song featuring both Maori and English text, in which a mother encourages her child to go to sleep. The rousing ‘Altered Days’ relates a tale of changed fortunes, for the better, of an emigrant from Scotland to New Zealand.

• Richard Oswin: Sweet Sleep and Altered Days - hardcopy score 

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• Richard Oswin: Sweet Sleep and Altered Days - downloadable PDF 

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• NZSSC: Akoako i te rangi CD  Year: 2012 

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The poem Tangi was written my Megan Simmonds, a New Zealand poet who lives in the Bay of Plenty. I wanted to explore the use of vocal overtones in this piece; they have often been connected with the spiritual or other-worldly in the various cultures where the technique is practiced. Whilst researching this subject I came across the poem Overtone by American writer W. S. Merwin:

…the names were read of those no longer there
that sound of what made no sound anymore
made up the chords that in a later year
some still believed that they could overhear

Notes by Carol Shortis

• Shortis: Tangi; computer-set 

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• Shortis: Tangi; computer-set 

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The Love Song of Rangipouri is based on a Maori chant recorded at Makara, near Wellington in 1963. It tells how a fairy chief, Te Rangipouri, won and lost the first human woman to ever reach New Zealand’s shores.

• Mews: The Love Song of Rangipouri; facsimile 

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• Mews: The Love Song of Rangipouri; computer-set 

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• Mews: The Love Song of Rangipouri; computer-set 

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• Mews: The Love Song of Rangipouri; facsimile 

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• Mews: The Love Song of Rangipouri 

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• Tower New Zealand Youth Choir: Winds that Whisper  Year: 1998 

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• Farr: Tirohia Atu Nei; computer set 

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• Farr: Tirohia Atu Nei; computer-set  Year: 2002 

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