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Helen Caskie  

A Cycle of Recollections

Duration: 13' 00" Year: 1997
for soprano, clarinet and piano

Dorothy Buchanan  

An Ocean Between Us

Duration: 25' 00" Year: 2006
for mezzo-soprano and piano quartet

Gillian Whitehead  

"Aria" from Outrageous Fortune

 Year: 1998
for soprano, taonga puoro, flute, bassoon, cello and piano

Helen Fisher  

Bone of Contention

Duration: 1h 20' 00" Year: 1993
a dance work for mezzo-soprano and ensemble

Anthony Ritchie  

Children and Adults

Duration: 10' 00" Year: 1992
four songs for soprano, clarinet and piano

  • Programme Note

    Children and Adults was conceived as a song cycle, commissioned by Rosemary Stott for the Klarion Trio in 1992. The different ways that children and adults view the world has been a recurring source of fascination for the composer (who has reared three children of his own). This is encapsulated in these four settings, in which issues such as life, death, survival and creativity emerge as the main themes.

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Dorothy Freed  

Deserted Beach

Duration: 08' 00" Year: 1993
for soprano and string quintet

Dorothy Ker  

Dreams from Stone Landscapes

Duration: 12' 00" Year: 1991
for soprano with flute/piccolo, oboe, clarinet

Gillian Whitehead  

Girl with a Guitar: Words for Music

Duration: 08' 00" Year: 2000
for mezzo-soprano, cello and piano

  • Programme Note

    Girl with a guitar: words for music is a set of seven short poems taken, with the poet’s kind permission, from Ruth Dallas – collected poems (Otago University Press, 2000). It was initially published in her 1968 collection, Shadow Show. The first performance was given by Panache, as part of a celebration of Ruth Dallas’s poetry, in a multi-media production, ‘Like flowers in rain’. The subject matter, drawing largely on nature images, is reflected in the titles.

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Gillian Whitehead  

Hinetekakara

 Year: 2004
for voice, taonga puoro, flute, alto flute, and bassoon

  • Instrumentation
    Taonga puoro include: putatara, putorino matai (wheke), pumotomoto, oriori, pupuharakeke (flax snail), pu kaea, nguru rakau maire
  • Programme Note

    Hinetekakara is the ancestress of Aroha Yates-Smith, the kaikaranga (singer) who provided the idea and the text of this piece. Hinetekakara lived on the shores of Lake Rotorua with Ihenga, her husband or father, an eponymous ancestor of the Te Arawa people, when the land was still being settled after the arrival of the Te Arawa canoe from central Polynesia.

    The four cadenzas, for bassoon, alto flute, flute, cello and bassoon, and bassoon link improvised sections, in which all the instruments participate. The singer initially invokes, accompanied by putatara (conch shell trumpet), the spirit of Hinetekakara, then addresses rituals following the death of her future father-in-law (with putorino), and then the birth of her son (with pumotomoto, an instrument used to assist at child-birth). A voiceless improvisation on pupu harakeke (flax snail), an instrument presaging danger, is followed by Ihenga’s anguished lament as he finds the murdered body of Hinetekakara by the lake, by the place named for her, Ohinemutu, meaning the end of the woman. Finally, she is farewelled as her spirit returns to the afterworld.

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Gillian Whitehead  

Hinetekakara

Duration: 16' 00" Year: 2004
for voice, taonga puoro, and bassoon

  • Instrumentation
    Voice used for waiata; Taonga puoro includes: Putatara, Putorino Matai, Pumotomoto, Pupuharakeke, Pu Kaea, and Nguru Rakau Maire
  • Programme Note

    Hinetekakara is the ancestress of Aroha Yates-Smith, the kaikaranga (singer) who provided the idea and the text of this piece. Hinetekakara lived on the shores of Lake Rotorua with Ihenga, her husband or father, an eponymous ancestor of the Te Arawa people, when the land was still being settled after the arrival of the Te Arawa canoe from central Polynesia. The four cadenzas, for bassoon, alto flute, flute, cello and bassoon, and bassoon link improvised sections, in which all the instruments participate. The singer initially invokes, accompanied by putatara (conch shell trumpet), the spirit of Hinetekakara, then addresses rituals following the death of her future father-in-law (with putorino), and then the birth of her son (with pumotomoto, an instrument used to assist at child-birth). A voiceless improvisation on pupu harakeke (flax snail), an instrument presaging danger, is followed by Ihenga’s anguished lament as he finds the murdered body of Hinetekakara by the lake, by the place named for her, Ohinemutu, meaning the end of the woman. Finally, she is farewelled as her spirit returns to the afterworld.

  • Availability